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Full text of "Catalogue of an exhibition of selected prints from the permanent collections of the Worcester Art Museum: October 1940."






SELECTED PRINTS 



FROM THE PERMANENT COLLECTIONS 




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WORCESTER ART MUSEUM 

1940 



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WORCESTER 

ART MUSEUM 

LIBRARY 



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55 SALISBURY ST, WORCESTER, MA, 01609 



Digitized by the Internet Archive 
in 2013 



http://archive.org/details/catalogueofexhib1940worc 



CATALOGUE 

OF AN EXHIBITION OF 

SELECTED PRINTS 



FROM THE PERMANENT COLLECTIONS 
OF THE WORCESTER ART MUSEUM 



OCTOBER 1940 

WORCESTER ART MUSEUM 

WORCESTER, MASSACHUSETTS 



Copyright 1940 
Worcester Art Museum 
Worcester, Massachusetts 

Printed in U. S. A. 



The design on the cover is a detail from Plate I V 



CONTENTS 



Introduction 

Note on the catalogue 

Catalogue .... 



Check list of printmakers 
represented in the 
museum's permanent collections . . 49 



ILLUSTRATIONS 

MARTIN SCHONGAUER 

Christ on the Cross, with four Angels . . . frontispiece 

PIERRE MICHEL ALIX 

Baptiste Aine plate i 

ANDREA ANDREANI 

Christ succumbing under the Weight of the Cross . plate ii 

UGO DA CARPI 

Diogenes and the Plucked Rooster plate m 

PAUL FLINDT 

Ornamental Cup plate iv 

J. B. GAUTIER d'aGOTY 

Frederick the Great in Armor plate v 

NICOLAS LE SUEUR 

St. Paul, St. Barbara and another Female Saint . . plate vi 

HENRI-MATISSE 

Danseuse plate vii 

PABLO PICASSO 

Reclining Nude plate viii 

JOHANNES TEYLER 

Landscape with Castle plate ix 



INTRODUCTION 

T^HE print exhibition scheduled for September, 1940, 
is of particular significance in that it marks the 
opening of the new Print Room and therewith the ful- 
fillment of a need which has long been felt in this 
Museum. The collections of prints and drawings pre- 
viously stored away in the basement and inaccessible 
to the public have now been given a room of their own 
where they are gathered together as a unit and filed 
systematically. Now for the first time we have a room 
equipped to handle about twelve thousand prints. In 
addition to the reference library and study tables there 
are also facilities for temporary exhibitions of from 
sixty-five to seventy-five objects. The program will 
provide for exhibitions drawn from material in the 
permanent collection as well as for occasional loans 
from individuals and institutions. 

The inaugural exhibition is made up of prints selected 
for their outstanding quality and interest. With few 
exceptions these prints have never been published, 
reproduced or displayed by the Museum. It would 
seem appropriate, therefore, to devote the Introduction 
of this catalogue to a brief account of the collection as a 
whole and of its benefactors. 

The Worcester Art Museum is the possessor of ap- 
proximately eleven thousand prints of which almost 
seven thousand were acquired through the generosity 
of three individuals. In 1901 Mr. John Chandler 
Bancroft left us his exceptionally fine collection of three 
thousand Japanese prints; Mrs. Kingsmill Marrs' 

1 



bequest, in 1926, included fourteen hundred European 
and American prints; Dr. Samuel B. Woodward gave 
us his complete collection of Cruikshankiana, which 
amounts to twenty-three hundred items, in 1934. A 
number of other friends have at one time or another 
presented single prints and drawings of importance. 
Of the objects acquired through purchase, a collection 
of more than three thousand American engravings was 
bought in 1910 from Mr. Charles E. Goodspeed of 
Boston. The remaining items, purchased singly or in 
small groups, represent a variety of methods and 
schools. 

The Bancroft collection covers the field of Japanese 
prints from the 17th century primitives to the 20th 
century and includes the work of one hundred and 
fifty-seven known artists. In scope as well as in the 
extraordinary quality and brilliance of the impressions, 
it ranks third among all public and private collections 
of its kind in the country. The prints are all uniformly 
mounted and labeled, and the entire collection has been 
fully catalogued by the late Dr. Frederick Gookin, for 
many years an outstanding authority on Japanese 
prints. 

The Goodspeed collection is of particular interest 
and value; at the time of its purchase in 1910 it was 
considered by many to be the " largest and most com- 
prehensive exhibit of the work of American engravers 
which has yet been brought together." Historically its 
importance is twofold: as a record of early American 
scenes and portraits, and as living examples of American 
engraving and its development from the end of the 17th 
century to approximately 1880. Special emphasis is 
placed on the methods of engraving on copper and 

2 



steel, such as line, stipple, mezzotint, and aquatint; 
also included are a number of wood engravings and 
lithographs. A great many of these prints were intended 
as book illustrations or as decorative vignettes designed 
for books, pamphlets, sheet music, certificates, legal 
documents, bank notes, etc. In addition, as Mr. 
Goodspeed said, " wherever possible to obtain them, I 
have included a portrait and an autograph of the 
engraver with his prints." 

The Cruikshank collection, which Dr. Woodward 
gave to the Museum in 1934, consists of three thousand 
items. Of these, six hundred and forty-two illustrated 
books, several folios, and over fifteen hundred single 
prints are by George Cruikshank himself. It is one of 
the outstanding collections of its kind and contains 
many very rare originals. The illustrations range in 
subject matter from charming fantasy to the biting 
sarcasm of political cartoons and the almost fanatic 
temperance propaganda. There are, in addition, seven 
hundred and fifty-six separate prints by the Cruikshank 
contemporaries, Rowlandson, Gillray, Doyle, Crowquil, 
and others. Most of these prints are etchings or wood- 
cuts, often brightly colored. Dr. Woodward has also 
included in his very generous gift a large number of 
reference books and catalogues pertaining either directly 
to Cruikshank or to the more general field of caricature 
and graphic art. 

Of the sixty-six prints in this exhibition more than 
half belong to the Marrs collection, and of these a 
great majority are color prints. The history of color 
printing was a subject which especially interested Mrs. 
Marrs, whose comprehensive collection was formed 
under the guidance of S. R. Koehler and given in his 

3 



memory. The collection includes several hundred 
single prints illustrating chronologically the various 
color printing processes, and nearly thirty illustrated 
books, ranging in date from 1522 to 1822, which contain 
further examples of these techniques. There are many 
very fine chiaroscuro prints of the 16th century Italian 
schools and of subsequent periods when chiaroscuro 
woodcuts were popular in Germany, France and the 
Netherlands and eventually in England. Probably the 
most familiar and at the same time the most decorative 
prints in the collection are those of the French and 
English schools of the 18th and 19th centuries, works 
by such men as Schiavonetti, Ryland, Debucourt, 
Bonnet, Janinet and others. Their essential worth must 
be judged not as an original creation but as a repro- 
ductive process and as such they are excellent. The 
methods used for these color prints were line and stipple, 
mezzotint and aquatint. The more modern processes 
are represented by eleven works of Mary Cassatt as 
well as numerous examples of chromolithography and 
the photomechanical processes and newspaper work. 
The Marrs collection is not limited to color prints, 
however, but also contains several hundred black-and- 
whites of which perhaps the largest number are 19th 
century etchings. There are woodcuts, lithographs, 
and engravings from the hands of such well-known 
artists as Hans Sebald Beham, Jakob von Strasbourg, 
Piranesi, Millet and Goya. 

The Worcester Museum has had no definite policy 
regarding the collecting of prints and drawings. Nearly 
three-quarters of the collection has been acquired by 
gift, and it is hoped that in the future other donors 
may become interested in its development. The pur- 

4 



chases of the Museum in this field will probably be 
limited in the future, as in the past, to individual prints 
of exceptional quality. This Museum has no desire to 
compete in scope with the great collections in the 
metropolitan cities, but aims to assemble gradually a 
well-balanced collection in each period. The compre- 
hensive collections of American prints owned by the 
American Antiquarian Society, together with the 
Museum's Goodspeed collection, imply that Worcester 
has an exceptional opportunity to become especially 
strong in the still somewhat unexplored field of Ameri- 
can Graphic Art. 

Elizabeth B. Dewey 
Assistant Curator of Prints 



NOTE ON THE CATALOGUE 

In the preparation of the catalogue no attempt has been made 
to give detailed biographical information on the artists. General 
references have been omitted entirely, and the bibliography is 
included only when there is direct reference to the specific print 
or problem under discussion. Dimensions are given in inches, 
height preceding width. The following are the abbreviations used: 

A.L.A. — Index to Portraits contained in printed books and periodi- 
cals (W. C. Lane and Nina E. Browne, ed.), Library of Congress, 
Washington, 1906. 

Bartsch — Adam von Bartsch, Le peintre-graveur, Leipzig, 1854- 
1876 (nouvelle edition). 21 vols. 

BenIdzit — E. Benezit, Dictionnaire critique et documentaire des 
peintres, sculpteurs, dessinateurs et graveurs de tous les temps et de 
tons les pays, Paris, 1911. 3 vols. 

Beraldi — Henri Beraldi, Les Graveurs du XIXe Siecle, Paris, 
1885-1892. 12 vols. 

Bryan — Michael Bryan, Dictionary of Painters and Engravers, 
London, 1886. 2 vols. 

Carrington — Fitzroy Carrington, Engravers and Etchers, Chicago, 
1917. 

Hind — A. M. Hind, A History of Engraving and Etching, Boston, 
1923. 

Hohn — Heinrich Hohn, Deutsche Holzschnitte bis zum Ende des 16. 
Jahrhunderts, Leipzig, 1925. 

Kurth — Willi Kurth, Albrecht Durers sdmtliche Holzschnitte, 
Munich, 1927. 

Le Blanc — C. Le Blanc, Manuel de V amateur d'estampes, Paris, 
1854-1859. 4 vols. 

Linton — W. J. Linton, The Masters of Wood Engraving, New 
Haven, 1889. 

Meder — Joseph Meder, Diirer-Katalog, Vienna, 1932. 

7 



Meyer — Julius Meyer, Allgemeines Kunstlerlexicon, Leipzig, 
1907. 3 vols. 

Nagler — G. K. Nagler, Allgemeines Kunstler-Lexicon, Leipzig, 
1835-1852. 22 vols. 

Nagler Monogr. — G. K. Nagler, Die Monogrammisten, Munich, 

1858-1879. 5 vols. 
Passavant — J. D. Passavant, Le peintre-graveur, Leipzig, 1860- 

1864. 6 vols. 

Pfister — Kurt Pfister, Albrecht Durer, Leipzig, 1928. 

Portalis-Beraldi — R. Portalis and H. Beraldi, Les graveurs du 
XVIIIe siecle, Paris, 1880-1882. 3 vols. 

Reichel — Anton Reichel, Die Clair-Ohscur Schnitte des XVI, 
XVII, XVIII Jahrhunderts, Vienna, 1926. 

Robert-Dumesnil — A. P. F. Robert-Dumesnil, Les peintre- 
graveurs franc ais, Paris, 1835-1871. 11 vols. 

Salaman — Malcolm C. Salaman, The Great Painter Etchers from 
Rembrandt to Whistler (C. Holme, ed.), London, 1914. 

Scherer — Valentin Scherer, Durer {Klassiker der Kunst), Stutt- 
gart, 1904. 

Slater — J. H. Slater, Engravings and their Value, London, 6th ed. 

Thieme-Becker — U. Thieme and F. Becker, Allgemeines Lexikon 
der bildenden Kunstler von der Antike bis zur Gegenzvart, Leipzig, 
1907-. 33 vols. 

Waetzoldt — Wilhelm Waetzoldt, Durer und seine Zeit, Vienna, 
1935. 

Wurzbach — A. von Wurzbach, Niederldndisches Kiinstler-Lexikon, 
Vienna, 1906-1911. 3 vols. 



8 



PLATE 
I 




•tiro Ic pi-rmirr !.» ma 



<-, sons amies 
tJi.Actt/i 



BAPTISTE AINE BY PIERRE MICHEL ALIX 



PIERRE MICHEL ALIX 

France, 1762-1817 

1 BAPTISTE AINE PLATE I 

Portrait bust of a gray-haired man with a long drooping 
moustache. He wears a fur cap with plumes and a uniform 
with a fur cape. The portrait is enclosed in an oval frame. 
Below, in a rectangular panel, is a scene in a forest, with 
groups of men in uniforms similar to that of the subject 
above. The central figure is dressed in long robes. Signed on 
plate: grave par P M Alix. / a Paris chez V Auteur rue et 
Hotel Serpente No 14./ The title, Baptiste Aine, is printed 
under the portrait. 

Ins.: . . . Voyons, qui mettra le -premier la main sur son Capitaine, sans 
armes. Robert Chef de Brigands, Acte IV, Scene IX. 

Aquatint, colored. \2% x 8%. 

Lit.: Portalis-Beraldi I, p. 21, No. 3. 

Baptiste Aine was an 18th century actor, shown here in 
the role of Mazepa the Cossack hetman. Duplessi 1 lists 
numerous engraved portraits of the actor but omits this one. 
. Bequest, Mrs. Kingsmill Marrs, 1926. 



ANDREA ANDREANI 

Italy, fl. 1584-1610 

2 CHRIST SUCCUMBING UNDER THE WEIGHT OF THE 
CROSS PLATE II 

Christ in center, crowned with thorns, has fallen on left 
knee and hand. The cross leans across His left shoulder. 
As the Roman soldiers are driving Him on, two female saints 
in the left foreground support another who has fainted. 

Chiaroscuro woodcut. 3 blocks (gray, brown, and black). 12^ x 9)4, 

Lit.: Bartsch XII, p. 42, No. 21. Bryan I, p. 38. Le Blanc I, p. 42, 
No. 14. Mayer I, p. 718, No. 12. Nagler Monogr. I, p. 36, No. 86. 

1 G. Duplessi, Catalogue des Portraits, Paris, 1896-1911. 7 vols. 

9 



Wolfgang Stechow, "Ludolph Buesinck," Print Collector's Quarterly 
XXV, No. 4, p. 417. " 

After a drawing by A. Casolano. The signature and in- 
scription have been cut off with the margin. It should read: 
All. Sig. Fabio Buonsignori Nobile Senese. Andrea Andreani 
intagliatore in Siena. 1591. A monogram is also recorded in 
the lower margin. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



ANONYMOUS 

Germany, 15th Century 

3 EXECUTION OF THE FIVE KINGS 

At left are soldiers in suits of armor led by Joshua, whose 
name, Josue, is printed below him. Five kings at right are 
hanging with ropes around their necks from three trees. 
The cut is situated almost half way down from the top of 
the page and runs the full width and about a third of the 
length of the page. It has a double border above and below. 

Woodcut, colored. 4>£ x 7f^. 

Lit.: Perry B. Cott, "German Wood Block Prints," Worcester Art 
Museum Bulletin XXIV, No. 1, p. 9. 

A full page of folio size from the Cologne Bible of 1479, 
published by Heinrich Quentell, scene and text from the 
Book of Joshua X, 26. Chapter XI is on the reverse side. 
The text, in two columns, is in German dialect and printed in 
Gothic type. The designer of the cuts is not known, but the 
influence of the Flemish School and of early manuscripts is 
seen in the style and character. Kautzsch 1 suggests the cuts 
were copied from manuscript miniatures or hand drawings 
and possibly cut by a French block printer. More specifically 
he compares the style to that of the old Cologne manuscript 
No. 516 in the Berlin Library. 
Museum purchase, 1933. 

X R. Kautzsch, Die Holzschnitte der Kolner Bibel von 1479, Strassburg, 
1896. 

10 




I' LATE 
II 



CHRIST SUCCUMBING UNDER THE WEIGHT OF THE CROSS 
BY ANDREA ANDREANI 



ANONYMOUS 

Germany, 15th Century 

4 THE MIRACLE OF TOBIAS 

Tobias, center, holds his father's left hand in his as he 
touches the right eye with his other hand. A lady at the 
right, with a turban, supports the father. Behind her is the 
tower symbolizing the gates of Nineveh. Conventionalized 
trees in center and the Angel Raphael at the left, with 
Tobias' wife, Sarah, followed by three noblemen. A bird 
flies overhead toward the central figures. The name Thobye 
is written above Tobias and again above his father. Double 
border above and below. 

Woodcut, colored. 4^ x 7% 

Lit.: Perry B. Cott, "German Wood Block Prints," Worcester Art 
Museum Bulletin XXIV, No. 1, pp. 9-10 (repr.). 

A woodcut from the Nuremberg Bible of 1483 published by 
Anton Koberger, with cuts borrowed from the Cologne Bible 
of 1479. The original page measured 16 x 113^8 before it was 
cut down. The scene is from the Book of Tobit, XI, in which 
Tobias cures his father of blindness. The text on the reverse 
side of the page is in High German and printed in Gothic type. 
Museum purchase, 1933. 



JOHN TAYLOR ARMS 

United States, 1887- 
5 LACE IN STONE 

The facade of Rouen Cathedral seen in detail from directly 
opposite. Signed in lower right corner of plate: Lace in 
Stone, Rouen. Arms, 1927 . Signed in margin: John Taylor 
Arms, 1928. 

Etching. 14 x 11^. 

Lit.: Dorothy Noyes Arms, "John Taylor Arms, Modern Mediaevalist," 
Print Collector's Quarterly XXI, pp. 134-135 (repr.). Knoedler and Co., 
Catalogue, Fine Prints of Two Centuries, N. Y., April, 1929, p. 108, 
No. 259 (repr.). 

11 



Repr.: Kennedy and Co., Comprehensive Exhibition of the Work of 
Living American Print Makers, N. Y., 1929, on cover. 
Gift of Edward A. Bigelow, 1937. 



FRANZ ASPRUCK 

Germany, fl. 1590-1603 

6 CHRIST AND THE APOSTLES 

a. St. James Minor 

An old man, baldheaded and barefooted, with beard and 
voluminous robes, holds a book in his left hand as he stands 
facing the spectator. Signed: A. C. and F. o A. in upper 
corners. 

Ins.: in halo, Jacob Minor; below, Sanctam Ecclesiam Catholicam 
Sanctorum Communionem; in lower right corner, 10. 

Punch and line engraving. 4jf x 2Y%. 

b. St. Simon 

A large man with shaggy hair and beard stands center 
and glances to left. He is barefooted. Both hands are hidden 
by voluminous robes. A sword hangs at his left side. Signed: 
F. o A. and A. C. in upper corners. 

Ins.: in halo, Simon; below, Remissionem Peccatorum; in lower right 
corner, 11. 

Punch and line engraving. 4^ x 2^f. 

c. Judas 

A man with shaggy hair and beard steps forward onto his 
left foot. His head is turned to the left. He has in his right 
hand an open book and in his left a bag of money. Signed: 
A. C. and F. o A. in upper corners. 

Ins.: in halo, Judas; below, Carnis Resurrexionem; in lower right 
corner, 12. 

Punch and line engraving. 4^4 x 2jf . 

d. St. Mathias 

A baldheaded man with a long beard leans his right arm 
on a long sword and holds an open book in his left hand. 
Signed: F. o A. and A. C. in upper corners. 

12 



Ins.: in halo, Mathias; below, Et Vitam Aeternam Amen; in lower right 
corner, 13. 

Lit.: Bryan I, p. 54. Meyer II, p. 343. Nagler Monogr. I, p. 123. 
Thieme-Becker II, p. 194. Wurzbach I, p. 31. 

Numbers 10 through 13 in a series entitled Christ and the 
Apostles. It is not known what A. C. stands for. The F. A. 
on each side of the circle are the artist's initials. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

FRANCESCO BARTOLOZZI 

British Isles, 1727-1815 

7 MADONNA DELLA SEDIA 

The Madonna, in embroidered shawl and headdress, is 
seated forward in her chair facing right and clasping the 
Child to her. The Infant St. John, with halo, reed cross and 
camel's hair garment, holds his hands together in a gesture 
of worship. The group is enclosed in an oval within a rec- 
tangular border. There is an allegorical remarque below of a 
woman seated in an armchair facing left, with a quill pen 
in her left hand and a large notebook in her right. Another 
book lies on the table at right. A small cherub posed at left 
with Roman fasces, sheaf of laurel and round marble plaque. 
Signed below: Raffael pines./ F. Bartolozzi del. et sculps./ 
Published according to Act of Parliament the 9 of April 1778. 

Stipple engraving in red. 10j£ x 9%. 

Lit.: Le Blanc I, p. 163, No. 27. A. W. Tuer, Bartolozzi and his Works, 
N. Y., 1881, II, p. 145, No. 2020. 

Engraved after the painting by Raphael (1516) in the 
Pitti Palace, Florence. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

HANS SEBALD BEHAM 

Germany, 1500-1550 

8 ORNAMENT WITH TWO GENII 

Two winged cherubs riding toward each other on the backs 
of serpents. The cherub at the left is seated facing the 

13 



spectator; the cherub at the right turns his back. Signed 
with monogram and dated in upper center of plate, 1544. 

Line engraving. 1st state, ljf x 4^. 

Lit.: Eduard Aumiiller, Les petits maitres allemands; Barthelemy et Hans 
Sebald Beham, Munich, 1881, p. 66, No. 253. Bartsch VIII, p. 217, 
No. 236. Le Blanc I, p. 241, No. 140. Meyer III, p. 240. Nagler Monogr. 
Ill, p. 622, No. 37 1 . William Bell Scott, The Little Masters, London, 
1881, p. 74 (repr.). 

The first state, before the additional shading in the back- 
ground. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

WILLIAM BLAKE 

British Isles, 1757-1827 

9 INDUSTRIOUS COTTAGER 

A woman and a small girl walk left along the path from 
a stile to a cottage, each carrying a bundle of firewood. 
Signed on plate: painted by Ge. Morland./ Engraved by 
W. Blake. 

Ins.: Industrious Cottager. / London -published May 12th 1788 by J. R. 
Smith, No. 31 King Street, Covent Garden. 

Stipple engraving in brown. 10^4 x 11^. 

Lit.: Archibald G. B. Russell, The Engravings of William Blake, Boston, 
1912, p. 151, No. 66; Slater, p. 160; J. T. H. Bailey, "Industrious 
Cottager," Connoisseur (extra No.), 1906. 

Morland's painting is in the collection of Mr. H. Darrel 
Brown in London and was exhibited at the Burlington Fine 
Arts Club in the winter of 1910-1911. It was painted in 
1803 as a companion piece to the "Idle Laundress." 
Bequest, Mrs. Kingsmill Marrs, 1926. 

LUDWIG BUSINCK 

Germany, ca. 1590-ca. 1650 

10 HOLY FAMILY 

The Madonna is seated facing right with the Christ Child 
lying in her lap. Joseph, at right holding staff, leans over to 

14 



look at the Child. A pattern of leaves and branches forms 
the background. Signed in lower right corner of plate: 
A. Bloem. inv./ L. Bilsic sc. 

Chiaroscuro woodcut. 3 blocks. 1st state (gray-browns). 9>2 x 7tV 

Exh.: Museum of Fine Arts, Boston, Oct. -Nov., 1939. 

Lit.: Le Blanc I, p. 554, No. 4. Nagler Monogr. IV, p. 293, No. 976. 
Thieme-Becker V, p. 199. Wolfgang Stechow, "Ludolph Buesinck," 
Print Collector's Quarterly XXV, No. 4, p. 412 (repr.), pp. 413, 417, 419. 

After a drawing by Abraham Bloemaert. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



GIULIO CAMPAGNOLA 

Italy, ca. 1482- post 1514 

11 ST. JOHN THE BAPTIST 

St. John stands in center, holding a baptismal cup in his 
left hand and gathering his robes to him with his right hand. 
Two figures and a flock of sheep in the left background. 
A hill town at right. Unsigned and undated. Watermark: 
tripod in circle with stem. 

Maniere pointillee. 11^2 x 9}4* 

Coll.: St. John Dent. 

Lit.: Bartsch XIII, p. 219, No. 5; p. 371, No. 3. Tancred Borenius, 
Four Early Italian Engravers, Boston, 1923, p. 105, No. 11. Carrington, 
p. 166 (repr.). A. M. Hind, "Some Early Italian Engravers before the 
time of Marcantonio," Prints and Their Makers (Fitzroy Carrington, 
ed.), N. Y., 1912, pp. 31, 130 (repr.). A. M. Hind, Catalogue of Early 
Italian Engravings . . . in the British Museum, London, 1910, p. 491; 
p. 494, No. 2 (repr.); p. 464, No. 8 (Mocetto). Paul Kristeller, Giulio 
Campagnola, Berlin, 1907, pp. 8, 10, 15; p. 18, No. 3; pi. Ill (repr.). 
Paul Kristeller, Andrea Mantegna (S. A. Strong, ed.), London, 1901, 
p. 460. Le Blanc I, p. 574, No. 3. Nagler II, p. 376; X, p. 393, No. 5 
(Mocetto). Passavant V, p. 164. Slater, p. 203. Thieme-Becker V, 
p. 451. Adelyn D. Breeskin, "A Recent Accession," Baltimore Museum 
Quarterly I (Jan. 1936), pp. 4-6. Campbell Dodgson, "The Classics,'' 
Print Collector's Quarterly XXVI, No. 2, p. 170 (repr.). Gustavo Friz- 
zoni, "Disegni di Antichi Maestri . . .," U Arte VIII (1905), p. 249. 
Emile Galichon, "Girolamo Mocetto: Peintre-Graveur de XVIe Siecle," 
Gazette des Beaux-Arts XIII, pp. 336, 339. A. M. Hind, "Gulio Cam- 

15 



pagnola," Burlington Magazine XIII, p. 365. Leona E. Prasse, "An 
Engraving of St. John the Baptist by Julio Campagnola," Cleveland 
Museum Bulletin XXII (Feb. 1935), pp. 15-18 (repr. on cover). 

The figure of St. John is considered to be a copy of a lost 
drawing by Mantegna. There are numerous drawings of the 
subject, including a study in bistre attributed to Giulio and 
Domenico Campagnola, formerly in the Galichon collection 
and now in the Louvre. Another drawing, which has been 
regarded as an original study, is in the Ambrosiana but 
Kristeller lists it as a copy after the print. Hind records a 
third drawing in the British Museum Catalogue as "an early 
copy after this print [by Mocetto] in pen and ink" (Anony- 
mous Italian drawings, 1880, 10. 9. 25). Mocetto's print 
was also made after the original Mantegna drawing. It is 
in reverse of the Campagnola and the landscape background 
is different. There is also a banderole at the head of St. 
John with the inscription: EGO VOX CLAMANTIS IN 
DESERTO PA RATE VI AM DOMINI. The Worcester 
Campagnola has been cut down at top and bottom and the 
signature and publisher's address are therefore missing. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



UGO DA CARPI 

Italy, ca. 1460-ca. 1523 

12 DIOGENES AND THE PLUCKED ROOSTER 

PLATE III 

Diogenes, with long hair and beard and in swirling drapery, 
sits leaning slightly forward, his left foot tucked behind the 
right. With his left hand he holds the end of the garment 
to his breast. A large book lies open in the foreground and a 
plucked rooster stands in the upper right corner of the com- 
position. The right arm of Diogenes is extended downward 
as he points a stick at the open book in the lower left corner. 
The book is signed across its pages: Francescus Parmen. 
per Ugo Carp. 

Chiaroscuro woodcut. 4 blocks (red-browns and black). 193^8 x 14. 

16 




PLATE 
III 



DIOGENES AND THE PLUCKED ROOSTER 
BY UGO DA CARPI 



Lit.: Bartsch XII, p. 100, No. 10. Bryan I, p. 237. Le Blanc I, p. 596, 
No. 24. Linton, p. 212. Nagler II, p. 447. Nagler Monogr. Ill, p. 690, 
No. 1642. Reichel, p. 30. Slater, p. 209. Thieme-Becker VII, p. 49, 
Stanislao Fraschetti, "Esposizione delle Stampe a Chiaroscuro alia 
Galleria Nazionale di Roma," U Arte III, pp. 172, 174, 176 (repr.). 
Luigi Servolini, "Colour Woodcuts," Print Collector's Quarterly XXIV, 
No. 4, pp. 417, 420 (repr.).. Luigi Servolini, "Ugo da Carpi," Print 
Collector's Quarterly XXVI, No. 1, pp. 43, 45-46. 

Diogenes sent a plucked rooster to Plato as a joke because 
Plato had denned man as an animal with two feet and no 
feathers. Da Carpi's print was executed after a drawing by 
Parmigianino (Francesco Mazzuoli da Parma), 1504—1540. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

MARY CASSATT 

United States, 1855-1926 

13 MOTHER BATHING CHILD 

A woman in a yellow print dress kneels on one knee. With 
one arm around the child, she reaches with her left hand 
into a large blue tub of water. Monogram lower center. 
Signed in pencil in lower margin: edition de 25 epreuves. 
Imprime par V artiste et M. Leroy. Mary Cassatt. 

Drypoint with color aquatint. 12^ x 9^g. 

Number six in a set of ten done "a la poupee" in imitation 
of the Japanese method. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

MARY CASSATT 

United States, 1855-1926 

14 THE TOILETTE 

A young woman facing away from the spectator and 
bending over a hand basin. She is clad in only a skirt, of 
green, pink, and white stripes. The wall is blue, as is the 
rug, which has a pattern of ferns and leaves. There is a ewer 
on the floor and two bottles on the washstand. The mirror 
in back reflects the side of the girl's head. Monogram in 

17 



lower center. Signed in pencil in lower margin: edition de 
25 epreuves. Imprime par V artiste et M. Leroy. Mary Cassatt. 

Drypoint with color aquatint. 14>£ x 10%. 

Lit.: Adelyn Breeskin, "The Graphic Works of Mary Cassatt," Prints 
VII, pp. 65 (repr.), 69-70. 

Repr.: Cincinnati Museum Bulletin VIII, No. 2, part 1, on cover. 

Number eight in a set of ten prints done "a la poupee" in 
imitation of the Japanese method. Published in 1891. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

BARTOLOMMEO CORIOLANO 

Italy, 17th Century 

15 VIRGIN WITH CHRIST CHILD 

The Virgin, in robes and with nimbus, faces left. The 
Christ Child, seated on a pillow in her lap, faces right. 
Signed at left: G. R. In./ B. Cor. F. Framed in oval within 
rectangular border. Title printed in a cartouche below: 
Jesus Maria. 

Chiaroscuro. 3 blocks (yellow-brown and black). 8^- x 6^. 

Coll.: J. Peoli. A. Firmin-Didot. P. Gervaite, 1860. 

Lit.: Bartsch XII, pp. 53-54, No. 7. Le Blanc II, No. 48. Nagler III, 
p. 199. Reichel, p. 60, No. 51 (repr.). Thieme-Becker VII, p. 415- 
Wolfgang Stechow, "Ludolph Buesinck," Print Collector's Quarterly 
XXV, No. 4, p. 415. 

After a drawing by Guido Reni. There are also impressions 
in reverse in gray-green. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

LUCAS CRANACH, THE ELDER 

Germany, 1472-ca. 1553 

16 ST. CHRISTOPHER 

The giant saint with staff in hand climbs out onto the 
river bank. On his shoulders is the Christ Child holding 
globe and cross. A monk on the distant bank is feeding two 

18 



swans. Mountain village seen in left background; two Saxon 
shields and the Cranach coat of arms hang on the tree at left. 

Chiaroscuro woodcut. 2 blocks (gold-brown and black). 113^8 * 7V%- 

Exh.: Museum of Fine Arts, Boston, Oct.-Nov., 1939. 

Lit.: Bartsch VII, p. 283, No. 58. Campbell Dodgson, Catalogue of 
Early German and Flemish Woodcuts, London, 1911, II, p. 296, No. 61c. 
Hohn, pp. 86 (repr.), 142. William M. Ivins, Jr., Notes on Prints, N. Y., 
1930, p. 67 (repr.). Friederich Lippmann, Lucas Cranach, Berlin, 1895, 
pp. 7-10, No. 6. Reichel, p. 52, No. 2 (repr.). Slater, pp. 18, 245. 

Repr.: Max Geisberg, Bilder-Katalog zu der deutschen Einblatt Holz- 
schnitte der ersten Hdlfte des XVI J ahrhunderts (Schmidt, ed.), Munich, 
1930, p. 110, No. 594. 

A late impression with the date, 1506, cut away. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



LUCAS CRANACH, THE ELDER 

Germany, 1472-ca. 1553 

17 TOURNAMENT WITH LANCES 

Knights in full armor and mounted on heavily decorated 
horses are wielding lances. Man with mounted drums center; 
another blowing a bugle. A couple watches from a window 
in center background; others from the balcony at right. 
Monogram lower center: L C 1509. 

Woodcut, ll^x 16 Ji 

Coll.: Paul J. Sachs, Cambridge. 

Lit.: Bartsch VII, p. 294, No. 125. Campbell Dodgson, Catalogue of 
Early German and Flemish Woodcuts, London, 1911, II, p. 293, No. 54. 
Frederich Lippmann, Lucas Cranach, Berlin, 1895, No.28. Slater, pp. 12, 
245. 

Repr.: Max Geisberg, Bilder-Katalog zu der deutschen Einblatt Holz- 
schnitte der ersten Hdlfte des XVI Jahrhunderts (H. Schmidt, ed.), 
Munich, 1930, p. 113, No. 621. 

One of three woodcuts by Cranach commemorating the 
tournaments at Wittenberg, November 15 and 16, 1508. 
Museum purchase, 1935. 

19 



PHILIBERT LOUIS DEBUCOURT 

France, 1755-1832 

18 ANNETTE ET LUBIN 

A young man on his knees, center, presents a girl in white 
to a gentleman in fine clothes and white wig and his com- 
panion, at right. A white lamb stands beside the girl, left. 
A procession of peasants approaches, and a herdsman tends 
his flock in the distant landscape. Below are two portrait 
medallions surrounded by farming equipment and a bag- 
. pipe. Cottage in left background. An old woman in cap and 
fichu and an old man with long hair and jacket face each 
other in the medallions. Two doves in nest above. Signed: 
Peint et grave par De Bucourt Peintre du Rot. 15 Juin 1589. 

Ins.: Annette et Lubin. / Lubin. / Monseigneur, voyez ses larmes; / 
Mettez fin a ses allarmes. / Monseigneur, voyez ses larmes; / Ah! laissez- 
vous attendrir. / Scene XVI. / Tout le monde connoit le delicieux Conte / 
moral dans lequel M r . Marmontel a si / bien peint la touchante anecdote 
d? Annette / et Lubin, et qui a fourni le sujet de / V aimable Com'edie de 
M me . Favart. / Ces interessans villageois dont beau / coup de personnes 
ignoroient V existence, / vivent encore et habitent le village de / Cormeil en 
Parish ou Us ojfrent le / parfait modele de Vamour Conjugal. Les/ 
vertus et la douceur d f Annette, le / courage et la franche gaite qui carac- 
terise / encore aujourd'hui le bon Lubin, leur ont fait supporter les tra- 
verses inseparables / de la vie; mais des circonstances malheureuses / jointes 
a la rigueur de I'hiver dernier les ay ant / r'eduit a la plus dure necessite, des 
persones temoins / de leur infortune ont invite les ames sensibles a les 
secourir; Vinteret / que leur jeunesse avoit inspire s' 'est ranime en leur 
faveur, et chacun s*est empresse de participer a leur consolation. En leur 
particulier M rs . les Comediens Italiens leur ont assure une pension de 
300 jr. I Les deux medaillons au bas de cette gravure sont leurs / portraits 
actuels dessines d?apres nature. / Avec Privilege du Roi. / A Paris, chez 
VAuteur. Cour du Louvre, la 5 e porte / a gauche en entrant par la Colon- 
nade, au l er ' 

Color aquatint. 14^4 x 103^8. 

Lit.: Benezit II, p. 41, No. 22. Francois Courboin, Vestampe francaise, 
Brussels, 1914, p. 116. Emile Dacier, La gravure de genre et de moeurs, 
Brussels, 1925, p. 48. Campbell Dodgson, Old French Colour-Prints, 
London, 1924, p. 28, pi. 83 (repr.). Maurice Fenaille, Voeuvre grave par 
Philibert Louis Debucourt, Paris, 1898, No. 22. Nagler III, p. 441. 
Portalis-Beraldi I, p. 691; p. 693, No. 1. Thieme-Becker VIII, p. 511. 

The subject of the composition was taken from a conte 
by Marmontel and adopted as a comedy by M me . Favart. 

20 



The original characters were still living at the time of its 
publication. Their portraits in old age appear in the vignette. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



PHILIBERT LOUIS DEBUCOURT 

France, 1755-1832 

19 LA PROMENADE PUBLIQUE 

A large crowd of gentlemen and ladies in best attire are 
seen strolling under the trees or seated at small tables. A 
man in center is tipped back precariously in a chair; another 
in left foreground. A small boy carries a tray of refreshments 
at right center. Five men converse around a table at right. 
Signed on plate lower right: D B 92. 



Ins.: Dessine et grave par Debucourt Peintre et Graveur. / La Promenade 
Publique / a Paris chez Depeuille, M . d'Estampes, Rue Denis No. 52. 
Section de Bon Conseil. / Imprime par Blin Inc. 

Color aquatint. 4 plates. I7j/g x 24^. 

Lit.: Benezit II, p. 41, No. 33. Emile Dacier, La gravure de genre et de 
moeurs, Brussels, 1925, pp. 39, 48, 104, pi. LXXXIII (repr.). Campbell 
Dodgson, Old French Colour-Prints, London, 1924, p. 28; pis. 84-85 
(repr.). Maurice Fenaille, Voeuvre grave parPhilibert Louis Debucourt. 
Paris, 1898, No. 33. Hind, p. 302. Portalis-Beraldi I, pp. 691, 695, 
No. 12. S. T. Prideaux, Aquatint Engraving, London, 1909, p. 65, 
Slater, p. 262. Thieme-Becker VIII, p. 511. American Art Association, 
Catalogue No. 4206 (Nov. 1935), Bishop Collection, No. 50 (repr.). Andre 
Blum, "Un musee de la gravure; la collection Edmond de Rothschild," 
VArt et les Artistes XXXIII, p. 31. Campbell Dodgson, "The Classics," 
Print Collector's Quarterly XXVI, No. 2, p. 180 (repr.); p. 185. M. 
Knoedler and Co., "French Colour Prints and Line Engravings of the 
18th Century," The Print Collector's Bulletin I, (1930), No. 1, pp. 22-23 
(repr.). 

Always popular for its color and subject matter, this print 
is considered one of the masterpieces of color aquatint. 
Among the characters depicted in the scene are several 
popular models and the Due de Chatres, later King Louis 
Philippe, who is blowing kisses. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

21 



JEAN DUPLESSI-BERTAUX 

France, 1747-1813 

20 MARIE ANTOINETTE 

The medallion portrait of Marie Antoinette shows her 
head and shoulders, a decolletee dress, earrings, necklace, 
and a plumed headdress. Her face is turned slightly to the 
left. The vignette below contains a scene of the French 
Revolution (the surrender at Varennes). In the center is a 
coach drawn by two pairs of horses and surrounded by 
infantrymen. A woman with a baby descends from the coach. 
Artillerymen at right drag cannon, as the cavalry departs 
at left. Signed below on plate: Duplessi Bertaux inv. et del. 
*An 8 de la Repub. Duplessi Bertaux aquaforti. and the title: 
Marie Antoinette Josephe Jeanne de Lorraine. 

Mezzotint, engraving and etching. 8 x 7]/g. 

Lit.: Surgeres, Marquis de Granges de, and G. Bourcard, Les francaises 
du XVUIe Steele, Paris, 1887, pp. 216-217. 

Marie Antoinette was the wife of Louis XVI of France 
(1755-1793). Surgeres and Bourcard mention another im- 
pression of this print in which the only variation is a fichu 
instead of a decolletee neckline. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



ALBRECHT DURER 

Germany, 1471-1528 
21 CHRIST IN THE GARDEN 

Christ kneels at right, His hands before Him in gesture of 
surprise. An angel head and a chalice appear over rocks at 
right. Three men sleep below gnarled tree at left while 
Roman soldiers enter gate behind. Signed lower center with 
monogram and dated 1515. 

Etching on iron. 9$4 x 6. 

Coll.: Dr. Augustus Striker, Aix-la-Chapelle. E. B. Holden, N. Y. 
Paul J. Sachs, Cambridge. 

22 



Lit.: Bartsch VII, p. 42, No. 19. Carrington, p. 132 (repr.). Campbell 
Dodgson, Albrecht Diirer, London, 1926, No. 82. Passavant III, p. 146; 
p. 148, No. 19. Scherer, pp. 135 (repr.), 376, 385. Slater, p. 12. Tietze 
III, pp. 57, 115, 120, 276 (repr.), 700, No. 648. Waetzoldt, pp. 79, 159, 
No. 117 (repr.). 

One of six etchings which Diirer executed on iron. The 
original plate is in the Staatsbibliothek in Bamberg. A 
study 1 , in reverse, in pen and dark bistre belongs to the Al- 
bertina (No. 118 in the Catalogue). A comparison of the 
drawing and the print shows slight differences in the render- 
ing of the angel's head and Christ's drapery. The Worcester 
impression is an early proof before all rust marks. 
Museum purchase, 1935. 



ALBRECHT DURER 

Germany, 1471-1528 
22 DESCENT INTO LIMBO 

Christ kneels on right knee, center, with arm outstretched 
to man below at right, while monsters threaten Him from 
above. A group of patriarchs at left in archway is led by 
Adam and Eve and three cherubs. Signed, with monogram, 
on side of stone, lower right. Dated 1510 on stone opposite 
Christ's head. Watermark: Meder 316. 

Woodcut. 15% x liy 8 . 

Coll.: A. Freiherr von Lanna, Prague. P. Gellatly, London. Paul J. 
Sachs, Cambridge. 

Lit.: Bartsch VII, p. 118, No. 14. A. M. Hind, An Introduction to a 
History of Woodcut, Boston, 1935, II, p. 384. Kurth, p. 32, No. 217 
(repr.). Linton, p. 86. Meder, pp. 126-127, No. 121. Nagier Monogr. I, 
No. 350; pp. 11, 82, 182. Passavant III, pp. 158-159. Pfister, pp. 42, 
98, No. 94 (repr.). Scherer, pp. 253 (repr.), 384, 391, XVIII, XX. Slater, 
p. 291. Tietze II 1 , pp. 56, 63f, 116, 216 (repr.), No. 449. Waetzoldt, 
pp. 153, 162 (repr.). 

An early proof from the series, the "Great Passion." 
Museum purchase, 1935. 

tietze III, No. 646; pp. 115, 120, 276 (repr.). Waetzoldt, No. 118 
(repr.). 

23 



ALBRECHT DURER 

Germany, 1471-1528 

23 FLIGHT INTO EGYPT 

Virgin and Child are riding on an ass guided by Joseph 
through a grove of palms. A cow, deer, rabbit, two sala- 
mander, and birds are also depicted in the woodland scene. 
A cloud of winged cherubs hovers in the upper right corner. 
Monogram, left foreground. Watermark: scale in circle 
(Meder 169). 

Woodcut. ny 8 xsj4. 

Coll.: R. Scholtz, Budapest. L. Bruckman, Cologne. Paul J. Sachs, 
Cambridge. 

Lit.: Bartsch VII, p. 132, No. 89. Campbell Dodgson, "Diirer's Wood- 
cuts," Prints and their Makers (Fitzroy Carrington, ed.), N. Y., 1912, 
p. 11 (repr.). Hohn, pp. 57 (repr.), 140. Kurth, p. 28 (repr.). Linton, 
p. 86 (repr.). Meder, p. 176, No. 201. Nagler Monogr. I, p. 188. 
Passavant III, p. 161. Pfister, p. 97; No. 84 (repr.). Scherer, XVII, pp. 
204 (repr.), 383, 390. Slater, pp. 12, 291. Tietze I, pp. 81, No. 273; 
94, 209 (repr.), 280, 318, 352, 421. Waetzoldt, pp. 150 (repr.), 132. 

An early proof before the text was added. Dated about 
1503. 

Museum purchase, 1935. 

ALBRECHT DURER 

Germany, 1471-1528 

24 SAMSON KILLING THE LION 

Samson, in loose garments and sandals, is seated astride 
the lion, facing left, and prying the lion's mouth open with 
bare hands. The background includes a castle atop a hill 
at the right, a tree in the left middle distance, a flock of 
birds, and a fortified castle by a mountain lake, left back- 
ground. Monogram, lower center. Watermark: large 
Reichsapfel (Meder 53). 

Woodcut. 1"5& x 10±f. 

Coll.: R. Scholtz, Budapest. P. Gellatly, London. A. Freiherr von 
Lanna, Prague. Paul J. Sachs, Cambridge. 

24 



Lit.: Bartsch VII, p. 116, No. 2. Campbell Dodgson, "Diirer's Wood- 
cuts," Prints and their Makers (Fitzroy Carrington, ed.), N. Y., 1912, 
p. 7 (repr.). A. M. Hind, An Introduction to a History of Woodcut, 
Boston, 1935, II, p. 384. Hohn, pp. 40 (rcpr.), 140, No. 40. Kurth, 
p. 22, No. 103. Meder, p. 117, No. 107. Nagler Monogr. I, p. 176, 
No. 57. Passavant III, p. 158, No. 2. Pfister, p. 97, No. 73 (repr.). 
Scherer, pp. 160 (repr.), 381, 389. Slater, p. 293. Tietze I, pp. 26, No. 
96; 165 (repr.), 389. Waetzoldt, p. 134. Harry David, "Durers Simson- 
holzschnitt und Israel von Meckenem," Monatshefte fur Kunstwissen- 
schaft V (1912) No. 4, pp. 129-131, pi. 31 (repr.). William M. Ivins, Jr., 
"Notes on three Durer Woodblocks," Metropolitan Museum Studies II, 
pp. 109-110. 

Early proof, dated about 1496-1497. The original block 
is in the Metropolitan Museum, New York. Written in 
pencil on the reverse of this print: "believed to be the finest 
impression from the block." 
Museum purchase, 1935. 

ANTHONY VAN DYCK 

Flanders, 1599-1641 

25 JUDOCUS CITERMANS 

Half length portrait of a man with a moustache, lace 
collar and cuffs, and heavy velvet sleeves. Two rows of 
buttons down the front of his suit. The lower half of the 
print is sketched in roughly, but the head and shoulders are 
complete in detail. Signed, lower left: Ant. van Dyck fecit 
aqua forti. Watermark: Wiberal 2. 

Ins.: lodocus Citermans, Antverpiensis pictor magni ducis florentini. 
Lower center, G. H. 

Etching. 3rd state. 9^4 x 6%. 

Coll.: Dr. H. Wolff, Bonn. Emil Schroter, Dresden. 

Lit.: Bryan I, p. 450. William H. Carpenter, Memoir of Sir Anthony 
Van Dyck with a descriptive catalogue of the etchings executed by him . . . , 
London, 1844, pp. 111-112. E. Dutuit, Manuel de V amateur d'estampes, 
Paris, 1884-1885, IV, p. 166, No. 12 3 . Nagler IV, p. 238. Frank New- 
bolt, Etchings of Van Dyck, London, No. 16 (repr.). Slater, p. 642. 
Friederich Wiberal, Viconographie d' Antoine van Dyck d'apres les 
recherches de H. Weber, Leipzig, 1877, p. 62, No. 12 3 . Wurzbach I, 
p. 467, No. 12 3 . 

25 



Repr. : Knoedler and Co., Catalogue, The Portrait Etchings of Anthony 
van Dyck, N. Y., 1934. Worcester Art Museum Bulletin VII, No. 4, 
opp. p. 14. 

Judocus Suttermans was a Flemish painter in Antwerp, 
1597-1680. The third state of this print is distinguished by 
the addition of the G. H. to the signature and inscription, 
G. H. being the initials of Gillis Hendricx the publisher. 
Museum purchase, 1916. 



RICHARD EARLOM 

British Isles, 1743-1822 

26 VIEW OF A SEAPORT 

Six sailing vessels are lying in the shelter of the harbor. 
Groups of men and women are active on the shore in the 
foreground, others in skiffs. A Corinthian column and 
cornice is visible at the left, and trees on the opposite shore. 
Signed: Claude le Lorrain delint. R. Ear lorn fecit. Watermark: 
Three dogs — one at each side of a pedestal, forefeet on a step 
above the hindfeet. The third stands on the top. The design 
on the surface of the pedestal resembles a hunter's horn. 

Ins.: Published Septr. 1st, 1775, by John Boydell Engraver in Cheapside. 
No. 120. From the Original Drawing in the Collection of the Duke of 
Devonshire. 

Etching with mezzotint. 83^ x 10^. 

Lit.: John Boydell (ed.), Liber Veritatis. . . ., London, 1777, I, p. 12, 
No. 2; pi. 2 (repr.). Bryan I, p. 462. G. Grahame, Claude Lorrain, 
Painter and Etcher, London, 1895, p. 57. Hind, p. 275. Portalis-Beraldi 
II, p. 109. Slater, p. 296. John Smith, A Catalogue Raisonne of the 
Works of the most eminent Dutch, Flemish, and French Painters . . . 
London, 1829, VIII, pp. 194-195, No. 2. Thieme-Becker X, p. 283. 

One of the series of three hundred prints by Earlom after 
the drawings of Claude Lorrain entitled "Liber Veritatis." 
The drawings are in bistre and several have additional white. 
All are in the collection of the Duke of Devonshire. The 
original drawing, after which this print was made, is signed 
and dated "at Rome, 23 Aug. 1678" and, according to the 

26 



PLATE 
IV 






X^Lifi 







~L._.jC2" 







[ Y/i 









^^cOx 






fy 






JG 







ORNAMENTAL CUP BY PAUL FLINDT 



Boydell publication, there is also a painting of the same 
subject in the possession of Lord Palmerston at Broadlands, 
Hampshire, and another owned by Dr. Newton, Bishop of 
Bristol. According to Smith's Catalogue, this second version 
is "probably the one now in the collection of Peter Miles, 
Esq., of Bristol, and differs from the print in the disposition 
of the figures only." 
Bequest, Mrs. Kingsmill Marrs, 1926. 



KERR EBY 

United States, 1889- 

27 SEPTEMBER 13TH, 1918: ST. MIHIEL DRIVE 

A line of troops moves slowly along a road which runs 
diagonally from right to left across war ravaged fields. 
Other soldiers are sitting by the roadside. A great black 
cloud hangs overhead, while in the distance is an impene- 
trable darkness. Signed in pencil: Kerr Eby. Ed. 100. 

Etching. 10% x 16. 

Lit.: Dorothy Keppel, "Kerr Eby," Print Collector's Quarterly XXVI, 
No. 1, pp. 82 (repr.), 91. 

Repr.: Art Digest IX, p. 22; X, p. 20. Art News XXXIV, No. 15, p. 2. 
Prints VI, p. 85. 

Gift of Edward A. Bigelow, 1935. 



PAUL FLINDT 

Germany, 1590-1620 
28 ORNAMENTAL CUP PLATE IV 

An engraved goblet with fruit, bird, and angel heads in- 
cluded in the design. Signed: P. V. N. at stem of cup. 

Punch engraving. 9x5. 

Lit.: Nagler Monogr. IV, 2950, No. 2 or 3399, No. 5. August Winkler, 
"Die Gefass- und Punzensticker der deutschen Hochrenaissance," 
Jahrbuch der koniglichen preussischen Kunstsammlungen, XIII (1892), 
p. 103. 

27 



Probably one of a series of forty plates executed in 1554. 
The initials P V N signify Paul von Niirnberg, or Paulus 
Vlindt Norimbergensis. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



J. B. GAUTIER D'AGOTY 

France, 18th Century 

29 FREDERICK THE GREAT IN ARMOR PLATE V 

The half-length portrait of Frederick the Great shows him 
facing left with his head turned toward the spectator. He is 
wearing a white wig, a suit of armor, a white bow under his 
chin, and a red velvet cloak over his right shoulder. His left 
hand is leaning on the top of a heavy stick. A tent is visible 
in the right background. 



Color mezzotint. 3 plates (blue, red, yellow). 9^ x 7^ 



Gautier D'Agoty employed the LeBlon process of color 
printing from three plates, superimposing the impression 
to obtain the desired color. As far as we know this is a unique 
impression. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



CLAUDE GELLEE (LE LORRAIN) 

France, 1600-1682 

30 LE BOUVIER 

A shepherd is seated under a tree on the river bank at 
right playing a horn, while the cattle wander across the river 
to the opposite bank. A house is seen among the trees at the 
left. Signed on plate in lower right margin: Claudius in et 
F Roma 1636; in left margin, 4. 

Etching. 3rd state. 5 x 7j%. 

Lit.: Carrington, pp. 247-248 (repr.). G. Graham, Claude Lorrain; 
Painter and Etcher, London, 1895, p. 79. P. G. Hammerton, Etching 
and Etchers, London, 1868, p. 178. Robert-Dumesnil I, p. 13, No. 8. 
Salaman, pp. 5, 128 (repr.). Slater, p. 226. Wedmore, p. 36 (repr.). 

28 




PLATE 
V 



FREDERICK THE GREAT IN ARMOR 
BY J. B. GAUTIER d'aGOTY 



Frederick Wedmore, Fine Prints, London, 1897, pp. 38, 39, 193. 
William Aspenwall Bradley, "The Road to Rome," Print Collector's 
Quarterly VII, p. 349 (repr.). F. Keppel, "Other Etchings from the 
Tracy Dows Collection," Print Collector's Quarterly I, p. 86 (repr.)- 

The third state of this print is distinguished by the number 
four in the left margin and by the inscription in the lower 
margin. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

CLAUDE GELLEE (LE LORRAIN) 

France, 1600-1682 

31 THE DANCE UNDER THE TREES 

Six figures are grouped together by a fallen log under a 
tree at right. Three others are dancing, center. At left is a 
team of oxen. Unsigned but bearing the number 6 in the 
left margin. 

Etching. 2nd State. SV 8 * 7f|. 

Lit.: Elfried Bock, Geschichte der graphischen Kunst, Berlin, 1930, p. 350 
(repr.). Carrington, p. 247. G. Graham, Claude Lorrain; Painter and 
Etcher, London, 1895, p. 82 (detail repr.). Hind, pp. 163, 164 (repr.). 
Nagler V, p. 346 2 . Robert-Dumesnil I, pp. 14-15, No. 10 2 ; XI, p. 170, 
No. 10 2 . Salaman, pp. 24, 134 (repr.). Slater, p. 226. Frederick Wed- 
more, Fine Prints, London, 1897, pp. 38-39. 

The second state is distinguished by the addition of the 
number six in the left margin. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

HENDRICK GOLTZIUS 

Netherlands, 1558-1616 

32 HERCULES KILLING CACUS 

Hercules standing in the center of a large cave, faces 
slightly to the right with feet braced wide apart. He grasps 
a heavy club with both hands above his head and is about 
to swing it down on Cacus who is sprawled at his feet with 
left arm and leg stretched out in defense. Two figures look 

29 



through the opening at left. Oxen and bats at right. Signed 
on rock, lower left: H. Goltzius inue. A° 88. 

Chiaroscuro woodcut. 3 blocks (green, yellow, black). \6% x 13. 

Lit.: Bartsch III, p. 72, No. 231. E. Dutuit, Manuel de V amateur 
d'estampes, Paris, 1884-1887. IV, p. 445, No. 231. O. Hirschmann, 
Goltzius, Leipzig, 1921, pp. 127-128, pi. XLIII (repr.). Nagler VI, p. 13. 
Slater, p. 18. Thieme-Becker XIV, p. 352. Wurzbach I, p. 600, No. 231. 

Repr.: Prints III, No. 4, p. 14. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



FRANCISCO JOSE DE GOYA 

Spain, 1746-1828 

33 LA DIVISION DE PLACE 

The scene is one end of an arena; a wooden fence cuts the 
composition diagonally from upper right to lower left. 
Spectators are crowded around the outside of the enclosed 
area to watch two bull fighters in action. Horses in upper 
left corner. Signed, near lower margin to left of center: Goya. 

Lithograph. 12 x 16^. 

Coll.: J. Peoli. 

Lit.: Beraldi VII, p. 200. Loys Delteil, Manuel de V amateur d'estampes 
des XIXe et XXe siecles, Paris, 1925, II, No. 289. Julius Hofmann, 
Francisco Goya, Katalog seines graphischen Werkes (Meister der Graphik), 
Vienna, 1907, p. 181, No. 280. Valerian von Loga, Francisco de Goya, 
Berlin, 1921, p. 237, No. 728 d 1 , pi. 83 (repr.). August L. Mayer, Fran- 
cisco de Goya (trans. R. West), London, 1924, p. 228, No. 280; pi. 
XXXIId (repr.). Hugh Stokes, Francisco Goya, His Work and Per- 
sonality, London, 1914, p. 375, No. 13. Slater, p. 351. Hermann Voss, 
Francisco de Goya (Meister der Graphik), Leipzig, 1910, pp. 47, 52, 
No. 68 (repr.). Paul Lefort, "Essai d'un catalogue raisonne de l'oeuvre 
grave et lithographie de Francisco Goya," Gazette des Beaux-Arts XXV 
(1868), pp. 179-180. 

Repr.: Print Collector's Quarterly XII, p. 45. The Arts X, No. 2, p. 102. 

An early proof before the lettering. Number four in the 
series "Les Taureaux de Bordeaux." Dated 1825. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

30 



CHARLES STORM VAN'S GRAVESANDE 

Belgium, 1841-1924 

35 PINES AND BEECHES, WOLFHEZEN 

A path runs from the lower left corner into the middle 
distance at center, where there is a house partly visible 
among sloping hills and trees. There is a large grove of trees 
at left and another in the right foreground, and a view across 
the fields at the extreme right. Monogram in lower left 
corner. Signed in pencil, lower right margin: Ch. Storm van 's 
Gravesande. 

Drypoint. 9% x 12&. 

Storm van's Gravesande, an Impressionist and a student 
of Felicien Rops in Brussels, was a prolific artist. His etch- 
ings and drypoints number about five hundred and his 
lithographs, about one hundred. This print is one of his many 
landscapes executed in Holland and Belgium. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

FRANCIS SEYMOUR HADEN 

British Isles, 1818-1910 

36 SUNSET IN IRELAND 

A quiet stream flows from right center into middle dis- 
tance. There is a grove of trees on the left bank and in the 
center background. Signed, lower left corner of plate: 
Seymour Haden 1863. Signed in pencil in lower margin at 
left: Very early. At right: Seymour Haden. 

Drypoint. 5^" x 8^. 

Lit.: Beraldi VIII, p. 41, No. 44. Carrington, p. 269 (repr.). W. R. 
Drake, Descriptive Catalogue of the Etched Work of Seymour Haden, 
London, 1880, No. 44. H. N. Harrington, The Engraved Work of Sey- 
mour Haden, Liverpool, 1910, No. 51; p. 25 (repr.). Salaman, pp. 38, 
219 (repr.). Frederick Keppel, "Notes on the Etchings from the Tracy 
Dows Collection," Print Collector's Quarterly I, pp. 14, 20 (repr.). 

An early proof on Japan paper. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

31 



WINSLOW HOMER 

United States, 1836-1910 

36 THE LIFE-LINE 

A seaman holds an unconscious girl on a boatswain's 
chair, center, suspended from a heavy cable between high 
seas and a gray sky. Signed, lower left corner of plate: 
Homer\ 1884. Lower right corner: copyright 1884 Winslow 
Homer. Signed in pencil, lower right margin: Winslow Homer. 

Ins.: copyright 1887 by C. Klackner. 17 East 17th St., New York. 

Etching (green). 12ff x \7%. 

Lit.: W. H. Downes, Life and Works of Winslow Homer, Boston, 1911, 
pp. 114 (repr.), 151. Frank Weitenkampf, American Graphic Art, 
N. Y., 1912, p. 17. Whitney Museum of American Art, Catalogue, 
Winslow Homer Centenary Exhibition (Dec. 15, 1936-Jan. 15, 1937), 
No. 118. 

After the painting by Homer, 1884, in the collection of the 
Pennsylvania Museum of Art. 1 The only difference is that 
a small piece of the composition has been cut off each end 
of the print, thereby eliminating the top of the rocky cliffs 
and the coastguardsmen which appear at the extreme right 
in the painting. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



FRANCOIS JANINET 

France, 1752-1813 

37 LA BARAQUE RUSTIQUE 

A family group behind an old brick farmhouse. The 
children are playing, and the father leans in the doorway, 
center, watching the woman prepare food. Signed on plate, 
lower right: A. Ostade 1673. In lower margin: A. Ostade 
pinx. Janinet sculp. 



Ins.: (cut off and pasted on back) La Baraque Rustique. Grave de meme 
grandeur que le Dessin Original et colore qui est dans la collection de M*' 
Basan. 



1 Pennsylvania Museum of Art Handbook, 1931, pp. 72-73 (repr.). 

32 



Color aquatint. 9J^ * ^H- 

Lit.: Benezit II, p. 708. C. Hofstede de Groot, Catalogue Raisonne of 
the Works of the most eminent Dutch Painters of the 17th Century, London, 
1910, III, p. 294, No. 503. Nagler VII, p. 242, No. 16. Portalis-Beraldi 
II, pp. 465, 481, No. 75. John Smith, A Catalogue Raisonne of the Works 
of the most Eminent Dutch, Flemish, and French Painters . . . London, 
1829, I, p. 158, No. 188. Thieme-Becker XVIII, p. 386. 

According to the inscription this print was made from the 
aquarelle by Ostade in the collection of Monsieur Basan. 
H. Mireur's Dictionnaire des ventes (Tart.... (Paris, 1911) lists 
a Pierre-Francois Basan, French engraver and collector 
(1723-1797). There is also a painting by Ostade entitled 
"The Cottage Dooryard" 1 which is in the collection of 
Mr. Joseph Widener, dated 1675 and measuring 17^/g by 
15^. Janinet's print is in reverse of the painting and differs 
from it in such details as the number of boards and hinges 
in the chicken coop, the design of the picket fence, and the 
open window shutter. The print has been dated about 1778 
or 1779. 

Bequest, Mrs. Kingsmill Marrs, 1926. 



FRANCOIS JANINET 

France, 1752-1813 

38 LE REPAS DES MOISSONEURS 

A group of peasants at left behind a haystack and an old 
stone farmhouse with a thatched roof. Some are eating from 
bowls, others loading hay on a wagon. A family group 
stands in a doorway at right. Ducks are splashing in a 
puddle in the foreground. Signed on plate, lower right: 
F. Janinet sculp. 

Color aquatint. 12^ x 17. 

Lit.: Benezit II, p. 708. Nagler VII, p. 242, No. 9. Portalis-Beraldi II, 
No. 54. Thieme-Becker XVIII, p. 386. M. Knoedler and Co., "French 
Colour Prints and Line Engravings of the 18th Century," The Print 
Collector's Bulletin I, No. 1 (1930), p. 31 (repr.). 

1 W. R. Valentiner, Paintings in the Collection of Joseph Widener at 
Lynnewood Hall, Elkins Park, Pennsylvania, 1931, pp. 218-219 (repr.). 

33 



After a painting by Pierre Alexander Wille, fils. Dated 
1774-1775. 

Bequest, Mrs. Kingsmill Marrs, 1926. 

JEAN-EMILE LABOUREUR 

France, 1877- 

39 PECHE A LA LIGNE 

A man and woman are seated on the edge of a pond 
fishing, center foreground. Two boys carry fishing equip- 
ment at left. Another couple strolls along a path. In the 
background are several simple plaster buildings with tiled 
roofs and open casements, partly concealed by large trees. 
Signed, lower left corner, with monogram L and 1928; in 
pencil in lower margin: Laboureur. 36/68 ep. 

Engraving. 8^ x 10. 

Repr. : Dictionnaire biographique des artistes contemporains (1910-1930), 
(Edouard-Joseph, ed.)., Paris, 1931, II, p. 294. 

Museum purchase, 1929. 

CARLO LASINIO 

Italy, 1757-1839 

40 IL SODOMA 

Head and shoulders of a man with white hair and beard, 
wearing a white linen blouse, brown sleeveless jacket, and a 
green cape over his left shoulder. He is facing right, with his 
head turned toward the spectator. The background is green. 
Labelled on plate in lower margin: Razzi detto il Sodoma; 
and signed with initials C. L. Watermark: top left side of a 
baroque shield containing the letters C. O. and the stem of 
another letter which runs off the edge of the paper. 

Color mezzotint. 4 plates. 6xf x 5. 

The Italian artist II Sodoma, whose real name was Gio- 
vanni Antonio Bazzi, was born at Vercelli in 1477 and died 
at Siena in 1549. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

34 



PLATE 
VI 




-**v# 



\ **ss 



* $ 



"jF^KT 




ST. PAUL, ST. BARBARA AND ANOTHER FEMALE SAINT 
BY NICOLAS LE SUEUR 



HANS SEBALD LAUTENSACK 

Germany, ca. 1524-1563 

41 LANDSCAPE 

A fortified castle surmounts a rocky peak at right, and at 
the base is a village. A foot stile in the center foreground is 
a distinguishing feature. Signed, lower center, with initials 
and a shield with the date, 1553. 

Etching. 6% x 4%. 

Lit.: Bartsch IX, p. 216, No. 25. Gutekunst and Klipstein, Catalogue 
XXXII, Bern, 1934, p. 21, No. 194. Knoedler and Co., Catalogue, 
Engravings, Etchings and Woodcuts of the XV and XVI Centuries, N. Y., 
1939, p. 63, No. 185. 

Bequest, Mrs. Kingsmill Marrs, 1926. 



AUGUSTE LEPERE 

France, 1849-1918 

42 FIN DE JOURNEE 

Two men in left foreground are gathering bundles of fagots. 
There are several trees at right by a stream. In the left 
background are two windmills. Signed lower right margin: 
A. Lepere. 1st Hat. 1/35. " Fin de Journee." 

Color woodcut. 2 blocks (black and brown). 8xf x 6^V 

Lit.: Beraldi IX, p. 132, No. 4. American Art Association, Anderson 
Gallery, Sales Catalogue, No. 4151, N. Y., Feb., 1935, p. 33, No. 154. 

Bequest, Mrs. Kingsmill Marrs, 1926. 

NICOLAS LE SUEUR 

France, 1690-1764 

43 ST. PAUL, ST. BARBARA AND ANOTHER FEMALE 

SAINT PLATE VI 

St. Barbara stands at the left with a palm branch held in 
the crook of her right arm. St. Paul is the central figure. 
The Saint at the right carries a small vessel in her right hand. 
Above their heads is an Angel Glory. 

35 



Chiaroscuro woodcut with etching. 2 blocks (brown and green). 15)4 x 

ioy 8 . 

Lit.: Le Blanc II, p. 543, No. 13. Nagler XX, p. 115, No. 16; XIII, 
p. 521; XIV, p. 546. Portalis-Beraldi II, p. 682. 

Some former owner wrote in pen in the lower left corner: 
Raphael de Colle. Jesus Christ et ses Apostres. Although that 
information is incorrect, this print is, however, after the 
original drawing in the Crozat collection by Rameghni 
(II Bagnacavallo), a pupil of Raphael and Francia. The 
etched lines are by Robert de Seri (P. P. A. Robert) and the 
woodblock is by Le Sueur. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

LOUIS LOZOWICK 

United States, 1892- 

44 STILL LIFE 

A cup and saucer with a spoon in the cup, half an apple, 
a pear, an apple, and a folded napkin arranged on a check- 
ered table cloth. Monogram in lower left corner. Signed in 
pencil: Louis Lozowick '29. 

Lithograph. 10>< x 13J/g. 

Lit.: Index of Twentieth Century Artists III, p. 277, No. 7. 

Museum purchase, 1929. 

LOUIS LOZOWICK 

United States, 1892- 

45 TANKS 

A large tank in center foreground; another in the left 
background. A pipe runs across from left to center and down. 
Heads of black and white truck horses, lower left, and an 
airplane, upper left, complete the design. Monogram lower 
left corner. Signed in pencil in margin below: Louis Lozo- 
wick '29. 

Lithograph. 14 x 8. 

Repr.: Creative Art IX, p. 372. 
Museum purchase, 1929. 

36 



PLATE 
VII 




X 



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8 






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w 

Hj 

u 

03 

w 

t/3 

- 



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i 



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y 



ANTOINE MASSON 

France, 1636-1700 

46 GUILLAUME DE BRESACIER 

Portrait bust of a man with gray hair, mustache and 
goatee, dressed in black robes with a white lace collar, and 
facing three-quarters to the left. Enclosed in an oval frame 
on which is the following inscription: Guillaume de Bresasier. 
Secretaire des Commandements de la Reyne, 1664. Signed in 
lower side of frame: N. Mignard Aueneonensis pinxit. Ant. 
Masson sculpebat 1664. Coat of arms and laurel branches 
below. 

Line engraving. 2nd state. 13^ x 10^. 

Lit.: Bryan II, p. 119. Nagler IX, p. 427, No. 12. Robert-Dumesnil IV, 
p. Ill, No. IS 2 . Charles Sumner, The Best Portraits in Engraving, 
N. Y., 1875, p. 14. Frederick Keppel, "Other Etchings from the Tracy 
Dows Collection," Print Collector's Quarterly I, pp. 90-91 (repr.). 

Bresacier was Secretary to Queen Maria Theresa in 1664. 
This print is also called "The Gray Headed Man." The 
second state is distinguished by the two misspellings, 
"Brisasier" and "Segretaire." 
Bequest, Mrs. Kingsmill Marrs, 1926. 

HENRI-MATISSE 

France, 1869— 

47 DANSEUSE PLATE VII 

A girl in ballet costume lying on her left side, facing the 
spectator, and supporting her head with her left arm. Signed 
in pencil: Henri-Matisse. 124/130. 

Lithograph. 13 x \9}i. 
Museum purchase, 1919. 

JEAN FRANCOIS MILLET 

France, 1814-1875 

48 WOMAN POURING WATER INTO JARS 

A peasant woman is pouring water from a wooden bucket 
into two pottery jugs, left. There is an old stone well at 

37 



right and a house and gate in the background. Signed lower 
right corner: /. F. Millet. , 

Woodcut. 5^x3^. 

Lit.: Beraldi X, p. 70, No. 32. Alfred Lebrun (Keppel trans.), Life and 
Works of Millet, N. Y., 1887, No. 32. Slater, p. 483. Frederick Keppel 
and Co., "Jean Francois Millet," Print Collector's Bulletin, N. Y., 1908, 
p. 28 (repr.). Robert J. Wickenden, "The Art and Etchings of Jean 
Francois Millet," Print Collector's Quarterly II, pp. 241, 250 (repr.). 

Drawn by Jean Francois Millet and cut by his brother, 
Pierre. Dated 1854. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



JEAN FRANCOIS MILLET 

France, 1814-1875 

49 WOMAN SEWING 

A peasant woman, seated facing a window at right, is 
sewing on a large piece of material. A cabinet is visible in 
the left background. Watermark: coat of arms with crown. 



Etching. 43^x2jf. 

Lit.: Beraldi X, p. 67, No. 10. Hind, p. 315 (repr.). Alfred Lebrun 
(Keppel trans.), The Life and Works of Millet, N. Y., 1887, No. 10. 
Robert J. Wickenden, "The Art and Etchings of Jean Francois Millet," 
Print Collector's Quarterly II, pp. 232 (repr.), 241. 

Dated 1855. 

Bequest, Mrs. Kingsmill Marrs, 1926. 



ROBERT NANTEUIL 

France, 1623-1678 

50 POMPONE DE BELLIEVRE 

In this bust portrait Pompone faces three-quarters to the 
right. He has a mustache and a goatee and his hair is shoulder 
length. He wears a small skull cap and a velvet robe trimmed 
with ermine. An oval frame encloses the portrait and bears 
the inscription: Natus Galliarum Princeps. Pomponius de 

38 



Bellievre Se. A coat of arms is centered below. Signed on 
plate: Carolus le Brun pinxit. Robertus Nanteuil sculpebat. 

Line engraving. 2nd state. 12^ x 9\^. 

Lit.: A. L. A. Index, p. 119. Elfried Bock, Geschichte der graphischen 
Kunst, Berlin, 1930, p. 356 (repr.). Bryan II, p. 198. Carrington, p. 207 
(repr.); p. 209. G. Duplessis, Catalogue des Portraits . . . Paris, 1896, 
I, p. 300, No. 3888-8. Le Blanc III, p. 81, No. 35. Nagler XI, p. 213, 
No. 39. C. Petitjean and C. Wicker, Catalogue de Voeuvre grave de 
Robert Nanteuil, Paris, 1925, I, p. 129, No. 16; II (repr.). Robert- 
Dumesnil IV, pp. 39, 45, 67, No. 37. Charles Sumner, The Best Por- 
traits in Engraving, N. Y., 1875, pp. 15-19 (repr.). Thieme-Becker XXV, 
p. 340. W. G. Manzies, "Some French Line Engravers, Part II," The 
Connoisseur XXII, p. 257. Louis R. Metcalfe, "Robert Nanteuil," 
Print Collector's Quarterly I, pp. 536, 554-555 (repr.). 

Pompone de Bellievre (1529-1607) was the first President 
of the Parliament of Paris. The print was executed after 
the painting 1 by Charles Lebrun in the Chateau de Chantilly. 
The second state is distinguished by the crochet after 
"sculpebat." 
Bequest, Mrs. Kingsmill Marrs, 1926. 

JOSEPH PENNELL 

United States, 1860-1926 
51 HALL DOOR, LINCOLN'S INN 

The entrance to a Tudor building, with street lamps 
flanking the steps and an urn of flowers in the left foreground. 
Signed in pencil in lower margin: /. Pennell. Goulding imp. 
HaWs Door, Lincoln's Inn. 

Etching. 10H x 8&. 

Lit.: Index of American Art II, p. 141, No. 9. F. Keppel, Joseph Pen- 
nell, Etcher, Illustrator, Author, N. Y., 1907, p. 59 (repr.). Louis A. 
Wuerth, Catalogue of the Etchings of Joseph Pennell, Boston, 1928, p. 125, 
No. 363. 

Dated 1905, the edition consisted of only 50 proofs, and 

the plate has been destroyed. Frederick Goulding was the 

printer. 

Museum purchase, 1909. 

X F.-A. Gruyer, La peinture au Chateau de Chantilly, Paris, 1898, II, 
p. 176, No. 76. 

39 



PABLO PICASSO 

France, 1881- 

52 RECLINING NUDE PLATE VIII 

A female nude lying on her right side and leaning on her 
right elbow as she gazes off to the spectator's right. With 
her right hand and left arm she holds the drapery across her 
body. Signed in pencil: P. Picasso. 

Lithograph. \\}i x 15. 

Lit.: B. Geiser, Uoeuvre grave et lithographie de Pablo Picasso, Berne, 
1932, No. 238. 

Dated 1924. 

Museum purchase, 1929. 



GIOVANNI BATTISTA PIRANESI 

Italy, 1720-1778 

53 BASILICA DE S. MARIA MAGGIORE 

The facade of S. Maria Maggiore. A coach, center, drawn 
by two horses, is halted at the broad steps leading up to 
the church. Many figures are scattered through the streets 
and along the steps. A large obelisk in the left foreground 
surmounted by a star and cross. Figures at fountain below. 

Ins.: Veduta della Facciata de dietro della Basilica de S. Maria Maggiore./ 
1. Cappella de Sisto V. 2. Cappella di Paolo V . 3. Obelisco ritrovato fra le 
r ovine del Mausoleo d' Augusto, e fatto quivi trasportare ed erigere da 
Sisto V. 4. Villa Montalto. / Presso V autore a Strada Felice vicino alia 
Trinitd de Monti. A paoli due em ezzo. / Giov. Battista Piranesi Archi- 
tetto dis. ed inc. 

Etching. 16 x 24^. 

Lit.: Albert Giesecke, Giovanni Battista Piranesi (Meister der Graphik, 
IV), Leipzig, 1911, p. 50, No. 15. Hind, p. 229. 



From the series "Vedute di Roma," two volumes with 
one hundred and thirty-seven numbered leaves. Composed, 
1748-1778. 

Bequest, Mrs. Kingsmill Marrs, 1926. 

40 



2 

O 

C 

H 

dd 

> 
u 
r 
o 



\\ 



/ - 



/ 



/ 









^ 



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V 






C 



/ 



fSo 









PLATE 
VIII 



L.-.y I 



CORNELIS PLOOS VAN AMSTEL 

Netherlands, 1726-1798 

54 LANDSCAPE IN TYROL 

Steep crags and cluster of evergreens in right foreground. 
A view of mountains and valley at left, with groups of houses 
and churches scattered through the valley. 

Crayon manner with aquatint. 2 plates. 10^8 x 13^|. 

After a drawing by Roelant Savery. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

AUGUSTE RAFFET 

France, 1804-1860 

55 CATALANS SUR LA RAMBLA DE BARCELONA 

A group of nine men conversing and smoking cigarettes. 
They are dressed in Catalonian costume with velvet breeches, 
gaiters, moccasins, a vest, white blouse, sash, headdress, and 
a long shawl over one shoulder. Signed, lower left corner of 
stone: Raffet. 

Ins.: Paris. Leconte editeur, Boulevart des Italians 5. Paris, Lith. 
Auguste Bry, r. des Bac, n. 4 (Imp. par Eugene Bry). Catalans. Sur la 
Rambla de Barcelona. 

Lithograph. 11x8. 

Lit.: Beraldi XI, p. 90, No. 172. Henri Beraldi, Raffet, peintre national 
(Librairie Illustree), pp. 16, 34. 

Bequest, Mrs. Kingsmill Marrs, 1926. 

ODILON REDON 

France, 1840-1916 

56 CAIN AND ABEL 

Abel, seen from behind, on the ground in a half sitting 
position. His left leg is stretched out to ward off the on- 
coming Cain who, with garments flying, grips a heavy club 
with both hands above his bent head. Signed in pencil: 
Odilon Redon. 

41 



Etching. ±% x 7X. 

Lit.: A. Mellerio, Odilon Redon, Paris, 1913, p. 89, No. 18 (repr.). 
Ehrich Print Gallery, Catalogue, Exhibition of one hundred prints by 
Odilon Redon, N. Y., Feb. 1919, No. 2. 

One of an edition of twenty impressions dated 1886. 
Redon also executed a painting of this subject of which these 
figures are a detail in reverse. The painting is in the collec- 
tion of Monsieur A. Leblond. 
Museum purchase, 1919. 

REMBRANDT HARMENSZ VAN RIYN 

Netherlands, 1606-1669 

57 YOUNG MAN MUSING 

A young man seated, with head and shoulders facing left. 
He wears a coat with a fur collar, a scarf, and a cap. At the 
left, a few books on a table. Signed, upper left corner: 
Rembrandt 1637. 

Etching. 3 jf x 3&. 

Lit.: Charles Blanc, Voeuvre de Rembrandt . . . Paris, 1880, No. 258. 
Bryan II, p. 384. A.-C. Coppier, Les eaux-fortes de Rembrandt, Paris, 
1929, F 34 (repr.). A. M. Hind, A Catalogue of Rembrandt's Etchings . . . 
London, 1924, I, p. 81, No. 151 2 ; II (repr.). A. M. Hind, Etchings of 
Rembrandt, London, p. 29, No. 139, pi. XVII. H. W. Singer, Rembrandts 
Radierungen in 402 Abbildungen (Klassiker der Kunst), Stuttgart, 1906, 
p. 20, No. 268 (repr.). Wurzbach II, p. 431, No. 268. 

Written on back: "rare et tres belle epreuvre. I. F. Linck, 
70." The second state is distinguished by the dotted shading 
on the cheek and by the elimination of the second outline 
around the cap. 
Bequest, Mrs. Kingsmill Marrs, 1926. 

LUIGI SCHIAVONETTI 

Italy, 1765-1810 

58 LA JARDINIERE 

A young woman is carrying a basket of primroses on her 
left arm and a small bouquet in her right hand. A small girl 

42 



and boy stand at the left and a dog at the right. The boy 
holds a basket on his right arm. A woman is seated at the 
right on a doorstep. 

Ins.: Painted by F. Wheatley, R. A. Engraved by L. Schiavonetti. La 
Jardiniere, a Paris chez Bance Aine. Rue St. Denis, No. 214. 

Stipple engraving, colored. 16>2 x 12yf. 

Lit.: Malcolm C. Salaman, Old English Colour-Prints, London, 1909, 
pp. 22, 41; pi. XXV (repr.). Slater, p. 677 (under Wheatley). 

Number one in a series after the paintings by Wheatley 
entitled "Cries of London." Other editions of this subject 
printed in London are called "Two Bunches a Penny, Prim- 
roses" or just "Primroses." A comparison of the Marrs 
impression with that reproduced by Salaman shows the 
former to be in reverse and the plate of slightly larger di- 
mensions. The colors are less brilliant and show less contrast 
in tone. The yellow is omitted from the primrose blossoms. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



MARTIN SCHONGAUER 

Germany, 1445-1491 

59 CHRIST ON THE CROSS, WITH FOUR ANGELS 

FRONTISPIECE 

Four angels are receiving the blood of Christ in chalices. 
The Virgin stands at left with arms folded across her breast. 
St. John stands at the right holding a book. The background 
is a hilly landscape. Monogram in lower center. Watermark: 
triple mountain with cross and star. 

Engraving. 11)4 * 7/1$- 

Coll.: Fiirstlich Hohenzollernsches Museum, Sigmaringen. 

Lit.: Bartsch VI, p. 930, No. 25. Nagler XVII, p. 441, No. 25. Passa- 
vant II, p. Ill, No. 25. Thieme-Becker XXX, p. 253. Max Geisberg, 
"Martin Schongauer," Print Collector's Quarterly IV, p. 113 (repr.). 
"Notes on Recent Accessions," Worcester Art Museum Annual I (1935- 
1936), pp. 58 (repr.), 60. 

Museum purchase, 1934. 

43 



JOHANNES TEYLER 

Netherlands, fl. 1650-1700 

60 LANDSCAPE WITH CASTLE PLATE IX 

A castle stands on a rocky ledge in left background. Two 
trees in center, four in right background. Two figures are 
crossing a stone bridge, and two others walk along the river 
bank, left. 

Color engraving. 10^ x 7£f . 

Printed in browns and greens from one plate. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



ANTONIO DA TRENTO (Fantuzzio) 

Italy, ca. 1508-post. 1550 

61 DIVINE HONORS RENDERED TO PSYCHE 

Psyche stands in the right foreground before vases of 
burning incense. Groups of men, women, and children are 
at each side. Roman architecture forms the background. 
The composition is enclosed in an octagon within a square. 

Chiaroscuro woodcut. 3 blocks (golden-brown, dark brown and black). 

ioh x ioy s . 

Exh.: Museum of Fine Arts, Boston, Oct.-Nov. 1939. 

Lit.: Bartsch XII, p. 125, No. 26. Bryan II, p. 584. Meyer I, p. 726, 
No. 21 (Andreani). Slater, p. 313 (Fantuzzi). 

After a drawing by Giuseppe Salviati (Porta). 
Bequest, Mrs. Kingsmaill Marrs, 1926. 



CORNELIS VISSCHER 

Netherlands, 1629-1658 

62 THE LARGE CAT 

A cat, dozing with front paws slightly extended and back 
paws drawn up under her, faces toward the spectator's right. 

44 




PLATE 
IX 



LANDSCAPE WITH CASTLE BY JOHANNES TEYLER 



A rat crouches in the left background. Signed on a flat stone 
in center foreground: Corn. Visscher fecit; and in center of 
lower margin of the plate: C. Visscher excudit. 

Line engraving. 3rd state. 5j£ x 7%. 

Lit.: Bryan II, p. 675. E. Dutuit, Manuel de V amateur d'estampes, 
Paris, 1884-1887, VI, p. 480, No. 46 3 . Le Blanc IV, p. 133, No. 147. 
Nagler XXIII, p. 174, No. 179. William Smith, Catalogue of the Works 
of Cornelius Visscher, Bungay, 1864, p. 16, No. 46. Charles Sumner, The 
Best Portraits in Engraving, N. Y., 1875, p. 12 (repr.). Wurzbach II, 
p. 798, No. 153. 

The third state is distinguished by the signature, which 
is changed from "fecit" to "excudit." The original sketch 
for this print is in the collection of Vos Jbz. It is executed 
with pencil and a reed pen and signed, C. Visscher A° 1657. 

Bequest, Mrs. Kingsmill Marrs, 1926. 



JAMES A. McNEILL whistler 

United States, 1834-1903 
63 ADAM AND EVE TAVERN 

View of the backs of old buildings, seen across a river with 
barges and fishing smacks. One building, right center, bears 
the sign "The Adam and Eve Wine and Spirit Estab." 
Another, at left, "Old Ferry Wharf. J. Johnson. Coat 
Merchant." Unsigned. 

Etching. 6y 8 xU%. 

Lit.: Beraldi XII, p. 287f, No. 144. Elizabeth Luther Cary, The Works 
of James McNeill Whistler, N. Y., 1913, p. 108. Campbell Dodgson, 
The Etchings of James McNeill Whistler, London, 1922, No. 175; pi. 50 
(repr.). Edward G. Kennedy, The Etched Work of Whistler, Grolier 
Club, 1910, No. 175. Frederick Keppel, The Golden Age of Engraving, 
N. Y., 1910, pp. 171 (repr.), 177. E. R. and J. Pennell, The Life of James 
McNeill Whistler, Phila., 1908, I, pp. 215, 280. Salaman, pp. 40, 254 
(repr.). Slater, p. 680. F. Wed more, Whistler's Etchings, A Study and a 
Catalogue, London, 1899, No. 144. 

Museum purchase, 1908. 

45 



CHARLES WILKIN 

British Isles, 1750-1814 

64 VISCOUNTESS ST. ASAPH 

A half-length portrait of a young woman seated and 
facing left. She wears a V-neck dress, long sleeves, wide bow 
sash tied in back, and a wide ribbon wound around her head. 
Her hair is in curls at the forehead and shoulder-length in 
back. Signed on lower margin of plate: inted and drawn by 
J. Hoppner, R. A. Engraved by C. Wilkin. 

Stipple engraving. 8^ x 6^. 

Lit.: A. L. A. Index, p. 62. A. M. Hind, Bartolozzi and other Stipple 
Engravers . . . , N. Y., p. 9; pi. XXXIV (repr.). William McKay and 
W. Roberts, John Hoppner, R. A., London, 1914, pp. 6-7. Freeman 
O'Donaghue, Catalogue of Engraved British Portraits . . . in the British 
Museum, London, 1908, I, p. 80 (Ashburnham). Malcolm C. Salaman, 
Old English Colour Prints, N. Y., p. 26. Slater, pp. 35, 687. Thieme- 
BeckerXVII, p.496. 

Trimmed within plate mark. One of a series of ten repro- 
ductive prints by Wilkin entitled "Ladies of Rank and 
Fashion," published 1797-1803. The subject is Lady 
Charlotte Percy (1776-1862), Countess of Ashburnham and 
granddaughter of the first Duke of Northumberland. Hopp- 
ner's painting is dated 1794 and is in the collection of the 
Duke of Northumberland. 
Bequest, Mrs. Kingsmill Marrs, 1926. 



HENRY WOLF 

United States, 1852-1916 

65 ELIZABETH TUCKERMAN SALISBURY 

A young lady, with hands folded in her lap, is seated in a 
chair facing slightly to the right. Her dress has a ruffled lace 
collar, a brooch, and short sleeves. She also wears lace in her 
hair. Signed in pencil in lower right margin: Henry Wolf 
sculpt. Sept -Oct. 1915. 

Wood engraving. 6}4 x 5. 

46 



Lit.: Ralph Clifton Smith, Life and Works of Henry Wolf, Champlain, 
1927, p. 95, No. 720. 

After the painting in the Worcester Art Museum by 
Gilbert Stuart. 1 This print was engraved for Harper's 
Monthly and appeared as one of a series entitled "Master- 
pieces in Galleries" on September, 1919, p. 482. Elizabeth 
Salisbury was the grandmother of Stephen Salisbury, who 
founded the Worcester Art Museum. 
Gift, Henry Wolf, 1915. 



ANDERS ZORN 

Sweden, 1860-1920 

66 ERNEST RENAN 

Portrait of Renan seated at a desk in front of a fireplace, 
with his left side toward the spectator and his face in three- 
quarter view. Signed on plate, lower left: Zorn, 1892. 

Etching. 9% x 11^. 

Lit.: A. L. A. Index, p. 1216. Karl Asplund, Zorn's Engraved Work, 
London, 1920, No. 73. Beraldi XII, p. 308, No. 34. Carrington, p. 218 
(repr.). Loys Delteil, Le peintre graveur illustre, 19e et 20e siecle, Paris, 
1909, IV, No. 72. J. Nilsen Laurvik, "Anders Zorn; Painter-Etcher," 
Prints and Their Makers, (Fitzroy Carrington, ed.), N. Y., 1912, pp. 
262-263 (repr.). Malcolm C. Salaman, Anders Zorn, London, 1925, p. 4; 
pi. 4 (repr.). Slater, p. 702. Wedmore, pp. 217-218 (repr.). Campbell 
Dodgson, "The Classics," Print Collector's Quarterly XXVI, p. 190 
(repr.). Frederick Keppel, "Other Etchings from the Tracy Dows 
Collection," Print Collector's Quarterly I, p. 89. J. Nilsen Laurvik, 
"Anders Zorn, Painter-Etcher," Print Collector's Quarterly I, pp. 618- 
619 (repr.). 

Ernest Renan was born in 1823 in the Breton town of 
Treguier and died in Paris in 1892. He was a teacher and the 
author of numerous essays and books, some of which are 
"L'Avenir de la Science," "Mission de Phenicie," and the 
"Life of Jesus." 

Bequest, Mrs. Kingsmill Marrs, 1926. 

1 Worcester Art Museum Bulletin VI, No. 2, pp. 11-12 (repr.). 

47 



CHECKLIST OF PRINTMAKERS 

REPRESENTED IN THE 
MUSEUM'S PERMANENT COLLECTION 1 



Ackerman (USA) 

Adams, J. A. (USA) 9 

Agar, J. S. (BR) 

Aiken, Charles A. (USA) 2 

Aiken, James (USA) 

Aiken, Mrs. James (USA) 

Aikman (USA) 

Aitkin, Robert (USA) 

Akin, James (USA) 11 

Alix, P. M. (FR) 

Allen, Joel (USA) 9 

Allston, Washington (USA) 

American Bank Note Co. (USA) 

62 
Anderson, Alexander (USA) 27 
Anderson, Hugh (USA) 8 
Andrews, Joseph (USA) 39 
Andrews, Joseph and J. Duthie 

(USA) 
Andrews, Joseph and E. A. 

Fowle (USA) 2 
Andrews, J. and H. W. Smith 

(USA) 3 
Andrews and Ormsby (USA) 4 
Andreani, Andrea (IT) 12 
Annin, William B. (USA) 4 
Annin and Smith (USA) 27 
Anonymous 244 
Anthony, A. V. S. (USA) 4 
Archer, James (USA) 2 
Argus (BR) 7 

Arms, John Taylor (USA) 4 
Armstrong, W. G. (USA) 5 
Aspruck, Franz (GER) 11 
Atwood, J. (USA) 2 
Aubert, Eugene (FR) 



Babson, R. E. (USA) 

Babson and Andrews (USA) 

Baker, I. H. (USA) 

Baker, John (USA) 

Baker, W. J. (USA) 

Baker, John and Andrew (USA) 

Baker, Smith and Andrew 

(USA) 
Balch, Vistus (USA) 8 
Balch, Rawdon and Co. (USA) 

3 
Balch, Cousland and Co. 

(USA) 2 
Bannerman, J. (USA) 3 
Bannerman, W. W. (USA) 
Bannister, James (USA) 3 
Barber, John W. (USA) 8 
Barker, John W. (USA) 
Barker, William (USA) 5 
Barnard, W. S. (USA) 2 
Barnard and Dick (USA) 
Barralet, John J. (USA) 
Bartholemew (USA) 2 
Bartolozzi, Francisco (BR) 267 
Bartsch, Adam (GER) 3 
Bassett, W. H. (USA) 
Bassett, Rawdon and Balch 

(USA) 2 
Bassett and A. Willard (USA) 
Bather, George J., Jr. (USA) 
Bause, J. F. (GER) 
Baxter, George (BR) 9 
Beaman, A. C. (USA) 
Beckwith, H. S. (USA) 2 
Beckett, Isaac (BR) 
Beham, Hans Sebald (GER) 



ir rhe figures after the names indicate the number of prints, if there are more 
than one. 



49 



Bell, C. M. (USA) 
Bell, Edward (BR) 
Bellange, Jacque (FR) 2 
Bennett, W. J. (USA) 12 
Berge, Pieter van der (NETH) 2 
Bicknell, W. H. W. (US)) 
Birch, Thomas (USA) 
Birch, William (USA) 5 
Birch, W. and Co. (USA) 
Birch, W. and Son (USA) 
Blake, William (BR) 2 
Bloemaert, Frederik (NETH) 
Blooteling, Abraham (NETH) 
Bogert (USA) 
Bolswert, B. A. (NETH) 
Bolt, J. F. (GER) 
Bonnefoy, Jacques (FR) 
Bonnet, Louis (FR) 22 
Bouilliard, Jacques (FR) 
Bourlier, M. A. (BR) 
Bourne (USA) 
Bouve, E. W. (USA) 9 
Bowen, Abel (USA) 32 
Bowen, J. T. (USA) 3 
Bower, John (USA) 4 
Bowes, Joseph (USA) 5 
Bowler, Thomas (BR) 
Boyd, John (USA) 19 
Boyd and Maverick (USA) 
Boynton, G. W. (USA) 4 
Bracquemond, Felix (FR) 3 
Bradley, J. H. (USA) 
Brangwyn, Frank (BR) 5 
Bridport, High (USA) 7 
Brightly (USA) 2 
Brooks (USA) 
Brown, Benjamin (USA) 2 
Brown, J. (USA) 
Brown, M. B. (USA) 2 
Brown, M. E. D. (USA) 15 
Brown, M. Lamont (USA) 
Bruen, R. C. (USA) 2 
Brunet-Debaines, A. (FR) 
Brunton, Richard (USA) 
Bufford, J. H. (USA) 12 
Bull, M. and T. Lee (USA) 



Burke, Thomas (BR) 3 
Burnet, John and Co. (BR) 
Burt, Charles (USA) 7 
Burt, Helen (USA) 
Businck, Ludwig (GER) 2 
Butterworth, A. H. (USA) 4 
Buttre, John C. (USA) 5 
Bylaert, J. J. (NETH) 6 

Cade, J. J. (USA) > 
Callender, Benjamin (USA) 6 
Callender, Joseph (USA) 8 
Cammeyer, W. (USA) 2 
Campagnola, Giulio (IT) 
Campbell, J. K. (USA) 2 
Campbell, Thomas (USA) 
Capewell and Kimmel (USA) 5 
Carpi, Ugo da (IT) 7 
Cardon, Anthony (BR) 
Carre, Antoine (FR) 
Casilear, John W (USA) 6 
Cassatt, Mary (USA) 13 
Chambers, B. (USA) 
Chambers, Thomas (BR) 
Chapin, William (USA) 3 
Chapman, C. T. (USA) 2 
Chaponnier, Alexander (FR) 
Chapuy, J. B. (FR) 2 
Charbonnier, Anne (FR) 
Charles, William (USA) 6 
Charlet, N. T. (FR) 
Chartrand, S. S. (USA) 2 
Cheney, John (USA) 246 
Cheney, S. W. (USA) 15 
Chereau, Francois (FR) 
Childs, Cephas G. (USA) 10 
Childs, John (USA) 
Childs and Fairman (USA) 
Childs and Inman (USA) 13 
Childs and Lehman (USA) 
Childs and Steel (USA) 
Chodowiecki, D. N. (GER) 8 
Chorley, John (USA) 6 
Christ, J. F. (GER) 
Chubbuck, Thomas (USA) 
C. J. G. (BR) 



SO 



Clark, John (BR) 
Clarke, Thomas (USA) 17 
Classen, W. M. (USA) 
Clay, Edward W. (USA) 5 
Clonney, J. G. (USA) 3 
Closson, W. B. (USA) 7 
Cobb, G. (USA) 2 
Cochin, C. N., II (FR) 
Cole, J. Foxcroft (USA) 5 
Cole, Timothy (USA) 5 
Colesworthy, S. H. (USA) 
Collet, J. (BR) 
Collin, Richard (NETH) 
Conde, John (BR) 
Cone, Joseph (USA) 7 
Cone, Joseph and Freeman 

(USA) 
Constans, C. (USA) 
Continental Bank Note Co. 

(USA) 2 
Cook, T. B. (USA) 
Cook, Rev. William (USA) 8 
Cooke, R. (USA) 2 
Cooke, W. J. (USA) 
Cootwyck, Jurian (NETH) 2 
Coriolano, Bartolommeo (IT) 17 
Cornelis, Lambert (NETH) 
Courtry, Charles (FR) 
Coutellier, F. (FR) 2 
Cowee (USA) 
Cower, G. L. (USA) 2 
Cox, Thomas (USA) 
Coxe, F. Cleveland (USA) 
Cranach, Lucas, the Elder 

(GER) 3 
Crowquil, Alfred (BR) 149 
Cruikshank, George (BR) 857 
Cunningham, E. B. (USA) 
Currier, Nathaniel (USA) 3 
Currier and Ives (USA) 4 
Curtis, J. (BR) 
Cushman, G. H. (USA) 2 
Cutting and Bradford (USA) 
C. W. (BR) 2 

Daggett, Alfred (USA) 



Daggett and Ely (USA) 
Daggett, Hinman and Co. 

(USA) 6 
Dainty, S. (USA) 
Dane, W. J. (USA) 
Danforth, Mosely I (USA) 12 
Danforth and Hufty (USA) 
Danforth, Bald and Co. (USA) 

2 
Danforth, Underwood and Co. 

(USA) 6 
Danforth, Wright and Co. 

(USA) 7 
Darley, Felix O. C. (USA) 23 
Dautrey, Lucien (FR) 
Davis, Warren B. (USA) 
Dawkins, Henry (USA) 3 
Dearborn, Nathaniel (USA) 23 
Debucourt, L. P. (FR) 61 
De Cernel, Marie-Louise (FR) 
Deeley, C. (USA) 
Delacroix, Eugene (FR) 
Delatre, Eugene (FR) 3 
Delatre, J. M. (FR) 2 
Del'Orme, E. H. (USA) 2 
Delpeck, F. S. (USA) 4 
Demarteau, Gilles, I (FR) 9 
Descourtis, C. M. (FR) 27 
Desnoyers, A. G. L. B. (FR) 
Devens, J. G. (BR) 
Dick, Alexander (USA) 14 
Dietrich, C. W. E. (GER) 5 
Dighton, Richard (BR) 8 
Dixon, John (BR) 
Dodson, Richard W. (USA) 6 
Doney, T. (USA) 2 
Doolittle, Amos (USA) 39 
Doolittle, Amos and Thomas 

Kensett (USA) 3 
Doolittle and Munson (USA) 6 
Dorsey, John S. (USA) 
Dougal, W. H. (USA) 10 
Downes (USA) 
Doyle, John (BR) 12 
Draper, John (USA) 
Draper, Welch and Co. (USA) 



51 



Draper, Underwood, Bald and 

Co. (USA) 
Draper, Underwood, Bald and 

Spencer (USA) 4 
Drayton, J. (USA) 13 
Drevet, P. I. (FR) 
Drevet, Claude (FR) 
Dudensing (USA) 
Duplessi-Bertaux, J. (FR) 
Dunn, George and Son (USA) 
Dunnel, E. G. (USA) 2 
Dunnel, W. N. (USA) 
Dura, G. (IT) 

Durand, Asher B. (USA) 39 
Durand, John (USA) 
Durand, A. G., C. Wright and 

Co. (USA) 6 
Diirer, Albrecht (GER) 4 
Durmer, F. V. (GER) 2 
Duterreau, B. (FR) 2 
Duthie, James (USA) 2 
Duthie and Schoff (USA) 
Duveneck, Frank (USA) 
Dyck, Anthony van (FL) 

Earlom, Richard (BR) 6 
Eby, Kerr (USA) 
Eckstein, John (USA) 3 
Eddy, Isaac (USA) 2 
Eddy, James (USA) 22 
Edelink, Gerard (FR) 
Edwards, J. C. (USA) 
Edwards, S. Arent (USA) 4 
Edwin, David (USA) 44 
Ehninger, J. W. (USA) 2 
Ellis, G. G. (USA) 17 
Ellis, W. H. (USA) 2 
Endicott (USA) 2 
Engelmann, Gottfried (GER) 
Esquire, E. A. (BR) 
Evens, T. A. (USA) 
Exilious, John G. (USA) 3 

Faber, John, II (BR) 
Fabri, Luigi (IT) 
Fabronius (USA) 2 



Fairman, Gideon (USA) 12 
Fairman, G. and C. G. Childs 
^ (USA) 

Fairman, Draper, Underwood 
^ and Co. (USA) 2 
Fairman and Maverick (USA) 
Fairman, Murray, Draper and 
^ Co. (USA) 

Fenderick, Charles (USA) 
Ferris, J. L. G. (USA) 
Field, Robert (USA) 3 
Fillebrown, F. E. (USA) 
Fitzpatrick, E. (BR) 
Fleet, Peter (USA) 
Flindt, Paul (GER) 
Folwell, Samuel (USA) 3 
Forrest, Ion B. (USA) 9 
Fortuny, Mariano, I (SP) 
Fossette, H. (USA) 
Foster, John (USA) 
Fournier, Mme. Felicie (FR) 
Fox, Gilbert (USA) 6 
Fowle, E. A. (USA) 
Francois, J. C. (FR) 
Frederick, John L. (USA) 2 
Freeman, F. O. (USA) 3 
French, Edwin D. (USA) 5 
French, I. F. (USA) 
Frieselheim, P. (BR) 
Fry, W. T. (USA) 2 
Furnass, John M. (USA) 3 

Gaillard, C. F. (FR) 
Galimberti, Francesco (IT) 
Galland, John (USA) 7 
Galludet, Edward (USA) 17 
Galludet, Elisha (USA) 2 
Gaugengigl, I. M. (USA) 
Gautier-D'Agoty, Armaud Eloi 

(FR) 
Gautier-D'Agoty, Edouard 

(FR) 10 
Gautier-D'Agoty, Honori Louis 

(FR)5 
Gautier-D'Agoty, Jacques Fa- 

bien (FR) 4 



52 



Gautier-D'Agoty, Jean Bap- 

tiste (FR) 3 
Gaw, R. M. (USA) 2 
Gelle, Claude (Le Lorrain) 
^ (FR) 4 

Gengembre, J. Z. (FR) 
Getchell, Edith L. (USA) 6 
Ghandini, Allessandro (IT) 
Gilbert, G. (USA) 2 
Gilbert, R. S. (USA) 
Gillespie, W. (USA) 
Gillray, James (BR) 11 
Gilman, J. W. (USA) 7 
Gimber, Stephen H. (USA) 10 
Gimbrede, Joseph N. (USA) 
Gimbrede, Thomas (USA) 25 
Girsch, Frederick (USA) 4 
G. L. B. (USA) 
Gladding, K. C. (USA) 3 
Gleeson, C. K. (USA) 
Glover, D. L. (USA) 2 
Godbrecht, Christian (USA) 3 
Godby, James (BR) 
Godefroy, Adrian (FR) 
Godwin, Abraham (USA) 3 
Goltzius, Hendrik (NETH) 14 
Goodman and Piggot (USA) 5 
Goya, Francesco (SP) 7 
Graham, A. W. (USA) 4 
Graham, George (USA) 4 
Graphic Co. (USA) 2 
Gravesande, C. Storm Van's 

(NETH) 3 
Greatbatch, W. (USA) 2 
Greenwood, John (USA) 3 
Gregory (USA) 
Gridley, Enoch G. (USA) 10 
Gross, J. (USA) 
Gubitz, F. W. (GER) 3 
Guiguet (FR) 
Guyot, Laurent (FR) 3 

Haden, Seymour (BR) 3 
Haig, A. H. (BR) 46 
Haines, D. (USA) 
Haines, William (USA) 8 



Hall, Alfred (USA) 
Hall, Alice (USA) 
Hall, Charles B. (USA) 2 
Hall, George R. (USA) 3 
Hall, Henry B. (USA) 5 
Hall, Henry B., Jr. (USA) 3 
Halpin, Frederick (USA) 6 
Halpin, John (USA) 2 
Hamlin, William (USA) 22 
Hamm, Phineas E. (USA) 
Hammerton, P. G. (BR) 3 
Hamilton, H. (USA) 
Hancock (USA) 
Hanks, O. G. (USA) 
Hardie, Martin (USA) 
Harris, James (USA) 2 
Harris, Samuel (USA) 
Harris, Samuel, Jr. (USA) 7 
Harrison, Charles P. (USA) 3 
Harrison, Richard G. (USA) 3 
Harrison, Richard G., Jr. (USA) 
Harrison, William, Jr. (USA) 4 
Hartwell, A. (USA) 17 
Hassell, John (BR) 3 
Hatch, George W. (USA) 5 
Hatch and Smillie (USA) 2 
Hawksworth, J. (USA) 
Hay, DeWitt C. (USA) 
Hay, William H. (USA) 
Heath, W. (BR) 2 
Heineman, E. (USA) 
Henry, John (USA) 7 
Herhan, Elizabeth (FR) 2 
Herkomer, Herbert (BR) 
Hewitt (USA) 
Hibbert, U. (BR) 
Hill, James (USA) 7 
Hill, John (USA) 10 
Hill, Samuel (USA) 40 
Hills, J. H. (USA) 3 
Hingston (USA) 
Hinmen, D. C. (USA) 
Hinschelwood, Robert (USA 
Hitchcock, D. C. (USA) 
Hodges, C. H. (BR) 
Hoffy, A. (USA) 



53 



Hogarth, William (BR) 29 
Holl, William (BR) 
Hollyer, Samuel (USA) 3 
Holyland, C. I. (USA) 
Homer, Winslow (USA) 2 
Hoogland, William (USA) 14 
Hooker, William (USA) 13 
Hopwood, James (BR) 2 
Horgan, S. H. (USA) 
Horton, J. S. (USA) 5 
Hoskin, R. (USA) 
House, Timothy (USA) 8 
Houston, H. (BR) 
Houston, H. H. (USA) 4 
Hovenden, Thomas (BR) 
Howard, F. (BR) 
Hoyt (USA) 
Hufty, J. (USA) 
Humphry, F. (USA) 
Hunt, Samuel (USA) 
Hunt, William Morris (USA) 4 
Hunter, Thomas (USA) 
Huntington, E. (USA) 12 
Hurd, Nathaniel (USA) 7 
Hutton, J. (USA) 2 
H. W. (BR) 54 

Illman, Thomas (USA) 8 
Illman Brothers (USA) 2 
Illman and Pilbrow (USA) 15 
Imbert, A. (USA) 19 

Jackman, W. G. (USA) 6 

Jackson, J. B. (BR) 27 

Jacob von Strasburg (GER) 4 

Jacque, E. C. (FR) 

Janinet, Francois (FR) 18 

J. C. (BR) 

Jeghers, Christoffel (NETH) 

J. E. M. (USA) 

Jennys, Richard, Jr. (USA) 

Jewett, Charles A. (USA) 3 

J. H. (BR) 

J. L. (BR) 

Jocelyn, Nathaniel (USA) 3 

Jocelyn, Simeon S. (USA) 8 



Jocelyn, N. and S. S. (USA) 13 
Jocelyn, Draper, Welch and Co. 

(USA) 2 
Johnson, David G. (USA) 18 
Johnson, Thomas (USA) 7 
Johnston, D. C. (USA) 95 
Johnston, Thomas (USA) 4 
Jones, Alfred (USA) 3 
Jones, Benjamin (USA) 2 
Jones, Fitz Edward (USA) 5 
Jones, William R. (USA) 4 
Jones, Smillie and Hinschel- 

wood (USA) 
Jordan, Henry (USA) 
Jordan and Halpin (USA) 
Juengling, Frederick (GER) 11 
Jukes, Francis (BR) 

Kauflman, Angelica (GER) 
Kearney, Francis (USA) 30 
Keenan, William (USA) 9 
Kellerdaller, Daniel (GER) 
Kelley, Thomas (USA) 19 
Kellogg, J. G. (USA) 4 
Kelly, J. (USA) 2 
Kennedy, James (USA) 5 
Kennedy and Lucas (USA) 
Kensett, John F. (USA) 
Kensett, Thomas (USA) 
Kent, Rockwell (USA) 
Kidder, J. (USA) 2 
Kimberley, Denison (USA) 6 
King, F. S. (USA) 4 
King, G. B. (USA) 
King, James S. (USA) 
Kingsley, Elbridge (USA) 25 
Kinsey, Nathaniel (USA) 
Kinsey, Nathaniel, Jr. (USA) 
Knapton, Charles (BR) 
Kneass, William (USA) 20 
Knight, Charles (BR) 
Koevoets, H. and C. (USA) 
Kruell, Gustav (USA) 2 

Laborde, Leon de (FR) 
Laboureur, J. E, (FR) 2 



54 



Lalanne, Maxime (FR) 
Lancon, Auguste (FR) 
Lane, Richard T. (USA) 
Lane, Theodore (BR) 3 
Lane and Scott (USA) 
Lang, George S. (USA) 4 
Langlume (FR) 2 
Lansing (USA) 
Lapelletier (USA) 
Laquillermie, F. A. (FR) 
Lardy, F. G. (FR) 4 
Lasinio, Carlo (IT) 92 
Latoix, Gaspard (FR) 2 
Lautensack, H. S. (GER) 
Lavigne (USA) 2 
Law, David (BR) 
Lawson, Alexander (USA) 26 
Lawson, Helen E. (USA) 
Lawson, Oscar A. (USA) 3 
Learned, A. G. (USA) 
Le Blon, J. C. (FR) 2 
Le Clair, B. (FR) 
Le Count and Hammond (USA) 

2 
Lee (USA) 
Leech, John (BR) 69 
Le Grand, Augustin (FR) 
Leggett, R. (USA) 
Lemet, L. (USA) 2 
Leney, W. S. (USA) 36 
Leney, W. S. and P. Maverick 

(USA) 
Leney and Rollinson (USA) 
Leoni, Ottavio (IT) 2 
Lepere, Auguste (FR) 2 
Le Prince, J. B. (FR) 2 
Le Sueur, Nicolas (FR) 10 
Le Sueur, Vincent (FR) 
Levachez, pere et fils (FR) 
Leveille, Pierre (FR) 
Lewis, Allen (USA) 
Lewis, Frederick C. (BR) 4 
Lewis, J. (USA) 
Lewis, J. O. (USA) 
Longacre, James B. (USA) 20 
Longueil, Joseph de (FR) 



Love, G. (USA) 5 
Lownes, Caleb (USA) 
Lozowick, Louis (USA) 2 
Lucas, David (BR) 
Lucas, W. B. (USA) 2 
Lutma, Jan, II (NETH) 3 

Mackenzie, E. (USA) 
Madan, M.(BR) 
Madely, C. E. (BR) 
Main, William (USA) 5 
Malcolm, James P. (USA) 4 
Marcuard, R. S. (BR) 2 
Mariage, L. F. (FR) 2 
Marsh, Henry (USA) 9 
Marshall, William E. (USA) 4 
Martin, D. (USA) 
Martin, J. B. (USA) 3 
Mason, A. J. (USA) 2 
Mason, William G. (USA) 
Massard, J. B. R. (FR) 
Masson, A. (FR) 2 
Matisse, Henri (FR) 
Mattheus, Georg (GER) 
Maverick, Ann (USA) 
Maverick, Emily (USA) 
Maverick, Maria A. (USA) 
Maverick, Peter (USA) 35 
Maverick, Peter R. (USA) 11 
Maverick, Samuel (USA) 8 
Maverick, P. and Durand 

(USA) 13 
Maverick, Samuel and J. F. 

Morin (USA) 2 
McArdell, James (BR) 
McCarty (USA) 
McClelland, D. (USA) 
McCormick, Howard (USA) 9 
McGoffin, John (USA) 4 
McRae, John C. (USA) 11 
Meadows, C. (USA) 2 
Meadows, R. M. (USA) 
Medairy (USA) 

Medairy and Bannerman (USA) 
Meinshausen, George (USA) 2 
Menageot, Robert (FR) 



55 



Meryon, Charles (FR) 
Mesier, E. S. (USA) 18 
Meyer, Henry (BR) 
Meyer, Hoppner (USA) 
Meilatz, C. F. W. (USA) 
Miller, W. (USA) 2 
Millet, J. F. (FR) 2 
Moffat, J. (USA) 
Molineux (USA) 
Monaco, Pietro (IT) 2 
Monks, J. A. S. (USA) 
Monsaldy, A. M. (FR) 2 
Moore, Isaac W. (USA) 
Moore, Thomas (USA) 13 
Morelse, Paul (NETH) 
Morghen, Raphael (IT) 
Morin, Jean (FR) 2 
Morin, J. F. (USA) 8 
Morret, J. B. (FR) 8 
Morse, Hazen (USA) 4 
Morse, Nathaniel (USA) 2 
Morse and Tuttle (USA) 3 
Moser, C. (GER) 
Mottram, C. (USA) 
Moulton (USA) 
Mulinari, Stefano (IT) 2 
Mulliken, Jonathan (USA) 
Mumford, E. W. (USA) 
Munson, Samuel B. (USA) 2 
Munson, S. B. and G. K. Still- 
man (USA) 
Murphy, J. P. (USA) 
Murray, C. O. (BR) 
Murray, George (USA) 7 
Murray, Draper, Fairman and 

Co. (USA) 2 
Muyden, Evert van (FR) 3 

Nanteuil, Robert (FR) 
Nash, Joseph (BR) 14 
Neagle, John B. (USA) 16 
Nelli, Niccolo (IT) 
Nesmith, J. H. (USA) 4 
Newcomb, D. (USA) 
New England Bank Note Co. 
(USA) 4 



Newsam, Albert (USA) 11 
Nicholson, J. D. (USA) 
Nicholson, Samuel (USA) 
Nicoll, J. C. (USA) 2 
Noorde, Cornells van (FL) 
Norman, John (USA) 33 
Notherman, G., Jr. (USA) 
Nutting, Benjamin F. (USA) 

Ogborne, John (BR) 
Okey, Samuel (USA) 
O'Neill, John A. (USA) 2 
Onken (USA) 
Ormsby, Waterman L. (USA) 

21 
Orr, J. W. (USA) 2 
Orr, N. (USA) 
Osborn, Milo (USA) 5 
Otis, Bass (USA) 
Ourdan, J. P. (USA) 2 
Outhwaite (USA) 

Packard and Ourdan (USA) 
Paillard, Henri (FR) 
Palmer, J. (USA) 2 
Palmer, Samuel (BR) 2 
Partridge, G. Roy (USA) 2 
Paradise, John W. (USA) 7 
Paris, Jerome (FR) 
Pariset, D. P. (BR) 
Parker, George (USA) 11 
Parkyns, G. I. (USA) 
Parrish, Stephen (USA) 2 
Parry, J. (BR) 
Pastorini, Benedetto (BR) 
Peabody, M. M. (USA) 5 
Peale, Charles W. (USA) 
Peale, Rembrandt (USA) 6 
Pease, Joseph (USA) 23 
Pease, Richard H. (USA) 
Peaseley, A. M. (USA) 4 
Peckenino, Michele (USA) 17 
Peckwell, H. (USA) 2 
Peirce, W. J. (USA) 
Pelham, Peter (USA) 16 
Pelton, Oliver (USA) 28 



56 



Pendleton, W. and S. (USA) 62 
Pennell, Joseph (USA) 3 
Perelle, Gabriel (FR) 
Perine, George E. (USA) 5 
Perkins, E. G. (USA) 4 
Perkins, Jacob (USA) 
Perkins, Jacob and Gideon 

Fairman (USA) 2 
Perkins, Fairman and Heath 

(USA) 7 
Perkins and Heath (USA) 16 
Peters, W. T. (USA) 
Pether, William (BR) 2 
Pettit, F. A. (USA) 
Phillibrowne, Thomas (USA) 4 
Phillips (BR) 
Phillips, Charles (USA) 
Phiz (H. K. Browne) (BR) 132 
Picart, Charles (BR) 
Picasso, Pablo (FR) 
Pierpont, Benjamin J. (USA) 2 
Pigalle (USA) 
Piper, R. U. (USA) 3 
Piranesi, G. B. (IT) 7 
Plocher, Jacob J. (USA) 6 
Ploos van Amstel, C. (NETH) 6 
Pollock, T. (USA) 
Pont, Arthur (BR) 2 
Portman, L. G. (GER) 
Posselwhite, J. (GER) 
Poupard, James (USA) 
Poynton, Gabrielle (FR) 
Prang, Louis (USA) 2 
Prestel, J. A. (GER) 
Prestel, J. B. (GER) 8 
Prestel, Maria C. (GER) 4 
Prestel, Ursula M. (GER) 
Price, G. E. (USA) 2 
Prud'homme, J. F. E. (USA) 17 
Punderson, L. S. (USA) 5 
Punderson and Crisand (USA) 

Radcliife, C. (USA) 
Radl, A. (GER) 
Rados, Luigi (IT) 
Raffaelli, J. F. (FR) 2 



Raffet, Auguste (FR) 3 
Ralph, W. (USA) 7 
Rawdon, Ralph (USA) 5 
Rawdon, Clark and Co. (USA) 3 
Rawdon, Wright and Co. 

(USA) 2 
Rawdon, Wright and Hatch 

(USA) 4 
Rawdon, Wright, Hatch and 

Edson (USA) 16 
Rawdon, Wright, Hatch and 

Smillie (USA) 3 
Raymond, P. H. (BR) 
Reason, Philip H. (USA) 2 
Redon, Odilon (FR) 9 
Reed, Abner (USA) 5 
Reed, Elliot, (USA) 
Reed and Bissell (USA) 2 
Reiche, F. (USA) 
Revere, Paul (USA) 17 
R. H. B. (BR) 
Ribera, Jose de (SP) 
Rice, Arthur (USA) 
Rice, James R. (USA) 
Ride (FR) 
Rider, A. (USA) 
Rimmer, W. (USA) 4 
Ritchie, Alexander H. (USA) 4 
Riviere, Henri (FR) 
Robert, Jean (FR) 
Roberts, John (USA) 6 
Roberts, William (USA) 2 
Robertson, W. (USA) 
Robin, Augustus (USA) 
Robinson (USA) 5 
Robyn, E. (USA) 
Roche (USA) 
Roger, L. (FR) 
Rogers, John (USA) 5 
Rollinson, William (USA) 13 
Rolph, J. A. (USA) 7 
Root, M. A. (USA) 
Rops, Felicien (FR) 
Rosenthal, Albert (USA) 
Rosenthal, L. N. (USA) 2 
Rosenthal, Max (USA) 5 



57 



Rost, Christian (USA) 
Rowlandson, Thomas (BR) 148 
Rowse, S. W. (USA) 4 
Rugendas, J. C. (GER) 13 
Rupprecht, F. C. (GER) 
Rushworth, Harrison (USA) 
Russell and Richardson (USA) 2 
Ryland, William (BR) 14 
Ryn, Rembrandt van (NETH) 2 

Sabin, J. F. (USA) 3 

Sadd, H. S. (USA) 2 

Sailliar, Louis (BR) 

St. Memin, C. B. J. F. de (USA) 

83 
Sandham, Arthur (USA) 2 
Sands, J. (USA) 
Sanford, Isaac (USA) 
Sarrabat, Isaac (FR) 
Sartain, Emily (USA) 
Sartain, Henry (USA) 
Sartain, John (USA) 40 
Sartain, Samuel (USA) 3 
Sartain, William (USA) 3 
Savage, Edward (USA) 22 
Schiavonetti, Luigi (BR) 8 
Schmidt, G. F. (GER) 2 
SchofT, Stephen A. (USA) 23 
Schongauer, Martin (GER) 
Schuessele, C. (USA) 
Schwarz, C. (USA) 2 
Scoles, John (USA) 38 
Scot, Joseph T. (USA) 3 
Scot, Robert (USA) 2 
Scot and Allardice (USA) 8 
Scott, J. (BR) 
Scott, J. W. A. (USA) 
Scott, Robert (USA) 
Sealey, Alfred (USA) 4 
Selim (BR) 2 
Senat, Prosper (USA) 2 
Senefelder Lithographic Co. 

(USA) 
Sergent-Marceau, A. F. (FR) 7 
Serz, J. (USA) 
Seymour, Joseph (USA) 8 



Seymour, Samuel (USA) 9 
Shallus, Francis (USA) 6 
Sharp, C. W. (USA) 2 
Sharp, William (BR) 2 
Sharp, William (USA) 14 
Sharp, Michelin and Co. (USA) 
Sharp, W. and J. C. (USA) 2 
Sherman and Smith (USA) 
Sherwin, John (BR) 
Sherwin, William (BR) 
Shires, W. (USA) 
Simon, J. P. (BR) 2 
Simonne, T. (USA) 
Sinclair, T. (USA) 
Sintzenick, Heinrich (GER) 2 
Skippe, John (BR) 3 
Skorodumov, Gabriel (RUS) 
Sly, S. (BR) 3 
Smillie, James (USA) 16 
Smillie, James D. (USA) 4 
Smith, Benjamin (BR) 
Smith, C. H. (USA) 2 
Smith G. G. (USA) 16 
Smith, Hezekiah W. (USA) 14 
Smith, James (USA) 10 
Smith, John (BR) 4 
Smith, John R. (USA) 7 
Smith, R. K. (USA) 
Smith, Sydney L. (USA) 18 
Smith, William D. (USA) 10 
Snyder, H. W. (USA) 6 
Sompel, Pieter van (NETH) 3 
Soper, R. F. (USA) 2 
Sparrow, T. (USA) 4 
Spencely, J. Winifred (USA) 3 
Spy (BR) 3 
Stalker, E. (USA) 
Steel, James W. (USA) 12 
Stiles, Samuel (USA) 
Stone, Henry (USA) 
Stone, William J. (USA) 4 
Stone, Mrs. W. J. (USA) 
Stout, James D. (USA) 2 
Strange, Sir Robert (BR) 50 
Strickland, William (USA) 10 
Strong, T. W. (USA) 2 



58 



Stuart, F. T. (USA) 6 
Suyderhoef, Jonas (NETH) 5 
Swett, M. (USA) 3 

Tanner, Benjamin (USA) 19 
Tanner, Henry S. (USA) 2 
Tanner, B. and W. R. Jones 

(USA) 
Tanner, Kearny and Tiebout 

(USA) 
Tanner and Leney (USA) 
Tanner, Vallance, Kearny and 

Co. (USA) 4 
Tappan, W. H. (USA) 4 
Tappan and Bradford (USA) 
Teel, E. (USA) 
Teel, George A. (USA) 
Terreni, Antonio (IT) 3 
Terry, W. D. (USA) 
Terry, Pelton and Co. (USA) 2 
Testolini, Gaetano (IT) 2 
Teyler, Johannes (NETH) 10 
Thackara, James (USA) 2 
Thackara, James and Son 

(USA) 2 
Thackara and Vallance (USA) 8 
Thayer, B. W. and Co. (USA) 2 
Thew, Robert (USA) 3 
Thomas, Isaiah (USA) 13 
Thompson, D. G. (USA) 
Thornhill (USA) 
Throop, D. S. (USA) 4 
Throop, J. V. N. (USA) 6 
Tiebout, Cornelius (USA) 5 
Tiller, Robert, Jr. (USA) 
Tisdale, Elkanah (USA) 10 
Tissot, J. (USA) 
Todd, A (USA) 
Tomkins, P. W. (BR) 38 
Toppan, Charles (USA) 
Toppan, Carpenter and Co. 

(USA) 5 
Torrey, Charles C. (USA) 3 
Toussaint, Henri (FR) 
Trenchard, E. C. (USA) 
Trenchard, James (USA) 23 



Trento, Antonio da (IT) 6 
Trott (USA) 

Tucker, William E. (USA) 10 
Tully, Christopher (USA) 
Turner, James (USA) 3 
Tuthill, W. H. (USA) 4 

Ulman, G. (USA) 2 
Underwood, J. A. (USA) 
Underwood, Thomas (USA) 
Underwood, Bald, Spencer and 

Hufty (USA) 2 
Unger, William (GER) 3 
United States Bureau of En- 
graving and Printing (USA) 
24 

Valdenuit (USA) 

Valentine, Elias (USA) 

Vallance, John (USA) 5 

Van Assen, B. A. (BR) 

Van Elten, Kruseman (USA) 

Van Ness (USA) 

Van Senus, William (NETH) 

Varley (USA) 

Verkruys, Theodor (NETH) 2 

Vertue, George (BR) 5 

Vincentino, G. N. (IT) 9 

Viret (FR) 2 

Visscher, Cornelis (NETH) 

Vivares (BR) 

Volkmar, Charles, Jr. (USA) 

Wagner, Joseph (IT) 2 
Wagner, William (USA) 3 
Wagstaff and Andrews (USA) 4 
Wagstaff, E. C. (USA) 
Walker, Charles A. (USA) 2 
Walker, William (BR) 2 
Walter, Adam B. (USA) 2 
Wallaert, D. (USA) 2 
Ward, William (BR) 14 
Warner, G. J. (USA) 
Warner, William (USA) 4 
Warnicke, John (USA) 
Warr, John J. (USA) 2 



59 



Warren, A. Coolidge (USA) 10 
Watson, Caroline (BR) 9 
Watson, J. F. and C. B. (USA) 
Watson, Thomas (BR) 2 
Watts, J. W. (USA) 
Watts, Simon (BR) 
Welch, Thomas B. (USA) 8 
Welch and Walter (USA) 
Welch and Wellmore (USA) 
Wellington, A. H. (USA) 
Wellmore, E. (USA) 7 
Wellstood, William (USA) 7 
Wellstood and Peters (USA) 
Westall, Richard (BR) 2 
Weston, Henry W. (USA) 4 
Whelpley, P. M. (USA) 5 
Whistler, J. A. McN. (USA) 5 
Whistler, J. A. McN., J. Young 

and C. A. Knight (USA) 
Whitechurch, Robert (USA) 3 
Whitehurst, J. H. (USA) 
Wightman, Thomas (USA) 13 
Wilcox, J. A. J. (USA) 5 
Wilkin, Charles (BR) 
Willard, Asaph (USA) 11 
Willard and Rawdon (USA) 2 
Wille, J. G. (GER) 
Williams, E.G. and Bros. (USA) 
Williams, G. P. (USA) 



Williams, H. (USA) 2 
Williams, M. (USA) 
Wilmer, William A. (USA) 3 
Wilson, D. W. (USA) 
Wilson, James (USA) 2 
Wit, Jacob de (NETH) 
Witte (USA) 
W. N. (BR) 
Wolf, Henry (USA) 6 
Wood, A. T. (USA) 4 
Wood, Franklin T. (USA) 
Wood, T. W. (USA) 
Woodcock, T. S. (USA) 6 
Woodcock and Harvey (USA) 
Woodruff, William (USA) 7 
Woodward, G. M. (BR) 25 
Wossenik, J. P. (FR) 2 
Wright, Charles C. (USA) 4 
Wright, J. (BR) 
Wright and Smith (USA) 
W. W. (BR) 

Young, James H. (USA) 2 

Young, John (BR) 

Young and Delleker (USA) 3 

Zanetti, A. M. (IT) 3 
Zorn, Anders (SWED) 2 



CHINESE WOODBLOCKS 
Anonymous 11 



JAPANESE PRINTMAKERS 



Anonymous 88 

Ashimaro 

Bansui, Furuyama 

Bensen 

Buncho, Ippitsusai 3 

Buncho, Tani 

Bunsei 2 

Chiharu 

Chikanobu 



Choki, Eishosai 7 
Chokusui, Hanzan 4 
Eiri, Rekisentei 2 
Eisen, Keisai 48 
Ekiga 

Eishi, Chobunsai 51 
Enshi, Angyusai 
Eisho, Chokosai 13 
Fuminobu 2 



60 



Eizan, Kikugawa 81 

Fusanobu, Tomikawa 

Eisui, Ichirakutei 3 

Fusatane, Isshosai 2 

Gakutei, Yashima 7 

Geki, Kano 

Gokotei 

Gokyo 

Gosei, Tantei 

Goshichi, Harukawa 

Gyokuen, Okyu 

Harumachi, Koikawa 

Harunobu, Suzuki 61 

Hidemaro, Kitagawa 10 

Hidenobu 

Hiroshige, Ichiryusai 742 

Hisanobu 

Hokkei, Aoigaoka 61 

Hokuba, Teisai 2 

Hokuga, Hotei 2 

Hokuju, Shotei 10 

Hokusai, Katsushika 249 

Hokutei 2 

Hoku-un, Tonansei 3 

Hotta 

Ichitei 

Ippyo 

Itcho, Hanabusa 4 

Jakuchu, Ito 32 

Kanei 

Kansui, Hoson 

Kasen 

Keibun, Matsumura 

Keiri 3 

Kikumaro (see Tsukimaro) 

Kiyoharu, Hishikawa 

Kiyohiro, Torii 6 

Kiyomasu, Torii 13 

Kiyomine, Torii 4 

Kiyomitsu, Torii 21 

Kiyonaga, Torii 103 

Kiyonobu I, Torii 12 

Kiyonobu II, Torii 

Kiyoshige, Torii 3 

Kiyotada, Torii 2 

Kiyotsune, Torii 11 



Kochu 

Koga, Kosodo 

Korin, Ogata 5 

Koryusai, Isoda 36 

Kosai 2 

Kozan 

Kunihide, Ichihosai 

Kunimasa, Utagawa 

Kuninaga, Utagawa 3 

Kuninobu, Ichiyosai 

Kunisada I, Utagawa 44 

Kunisada II, Utagawa 

Kuniteru, Ichiyusai 

Kuniteru, Utagawa 

Kunitora, Utagawa 

Kunitsuna, Utagawa 2 

Kuniyasu, Ipposai 

Kuniyasu, Utagawa 

Kuniyoshi, Ichiyusai 108 

Kyokuba 

Kyosai, Kawanabe 31 

Masanobu, Kitao 17 

Masanobu, Okumura 59 

Masanobu, Shungyosai 

Masayoshi, Kitao 48 

Masunobu, Tanaka 

Matora, Oishi 

Minemaro 

Moronobu, Hishikawa 5 

Ninsei 

Rinai 

Ritsuo, Bokanshi 

Rozan 

Ryokushi 

Ryukoku, Shunkyosai 

Sadahiro, Utagawa 

Sadahide, Gyokuransai 

Sadanobu, Hasegawa 2 

Sadatora, Gohotei 2 

Sekijo 4 

Sekkyo, Sawa 4 

Sharaku, Toshusai 

Shigenaga, Nishimura 8 

Shigenobu, Hirose 2 

Shigenobu, Ichiyusai 13 

Shigenobu, Taniskiro 2 



61 



Shigenobu, Yanagawa 18 

Shigemasa, Kitao 105 

Shiko, Eishosai 

Shiko, Momokawa 

Shiko, Momokawa, II, 

Shinsai, Ryuryukyo 2 

Shinsai, Ryuryusai 12 

Shisentei 

Shiso 

Shoi, Kuwagata 

Shucho, Tamagawa 5 

Shuncho, Katsukawa 32 

Shungyosai 3 

Shunkei 

Shunjo, Katsukawa 

Shunko, Katsukawa 5 

Shunkosai 2 

Shunkwo 

Shunman, Kubo 23 

Shunsen, Kashosai 54 

Shunsho, Katsukawa 56 

Shuntei, Katsukawa 3 

Shunyei, Katsukawa 14 

Shunyen 

Shunzan, Katsukawa 16 

Sonsai 

Sori, Tawara 2 

Sugakudo 



Sukenobu, Nishikawa 22 

Taiga ku 2 

Taito Katsushika 7 

Taito II, Katsushika 4 

Tosai 

Toshinobu, Okumura 5 

Tosho 

Toyoharu, Itagawa 10 

Toyohiro, Ichiryusai 14 

Toyohiro, Utagawa 31 

Toyokuni, Kosotei 6 

Toyokuni I, Utagawa 103 

Toyomaru, Itagawa 3 

Toyomasa, Ishikawa 15 

Toyonobu, Ishikawa 17 

Toyonobu, Utagawa 2 

Tsukimaro 14 

Ukiyoan 2 

Utakuni 

Utamaro, Baigado 48 

Utamaro, Kitagawa 176 

Yoshikazu, Ichikawa 5 

Yoshimaru, Utagawa 2 

Yosimori, Utagawa 

Yoshitora, Ichimosai 

Yukinobu 

Yushin, Fujiwara 

Zeshin, Shibata 



ILLUSTRATED BOOKS 



Anderson, Alexander (USA) 

Anonymous 15 

Bartolozzi, Francesco (BR) 2 

Berger 

Bollinger (NETH) 

Gubitz J 

Bowen, J. T. (USA) 7 

Chauneau, F. \ /t-dn 

Daret / (* R ) 

Cruikshank, George (BR) 643 



Flaxman, John (BR) 
Gautier-D'Agoty (FR) 3 
Goltzius, Hubert (NETH) 
Heath, H. (BR) 
Hollar, W. (BR) 
Ladmiral, J. (FR) 2 
Lavallee (FR) 
Le Blon, J. C. (FR) 
Thompson, John \ /r>p\ 
Williams, S. j ^ K) 



62 



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WORCESTER, MASSACHUSETTS